IflKftlT 

LIBRARY 

UNIVERSITY    Of 


FOOT-POWER  LOOM  WEAVING 


BY 


EDWARD  F.  WORST 

Supervisor  of  Elementary  Manual  Training  and 
Construction  Work,  Chicago,  111. 


THE  BRUCE  PUBLISHING  COMPANY 
MILWAUKEE,  WIS. 


DECORATIVE  ABI 


Copyright,  1918 

by 
Edward  F.  Worst 


I  0/4-90 


-tive 
Art. 


INTRODUCTION 


HE  suggestions  offered  in  this  manual  are  for  those  who  believe  that  the  more  ad- 
vanced weaving  should  be  pursued  as  a  most  wholesome  occupation  and  that  it 
should  again,  in  the  near  future,  find  a  place  not  only  in  the  school  but  also  in  the 
home.     Few  lines  of  occupation  furnish  more  excellent  opportunity  for  color  com- 
bination and  design  than  does  the  craft  of  weaving. 

Girls  taking  the  various  household-arts  courses  will  find  weaving  a  great  aid  in  under- 
standing the  structure  of  a  piece  of  cloth. 

The  work  is  so  full  of  possibilities  and  the  results  obtained  have  such  a  wonderful  effect 
on  the  character  of  the  worker  that  these  alone  afford  ample  reasons  why  weaving  should  be 
carried  on  in  both  school  and  community. 

The  descriptions  given  are  for  the  amateur  weaver  who  will  find  them  more  easily  under- 
stood than  those  given  in  the  more  technical  books  on  the  subject. 

It  is  hoped  that  those  interested  will  find  help  through  the  suggestions  offered  in  this  manual. 

EDWARD  F.  WORST. 


M856405 


Table  of  Contents 


CHAPTER  I 

THK  LOOM,  WAKPING  AND  THREADING  —  Loom  Weav- 
ing —  The  Construction  of  Plain  Cloth  —  The  Essential 
Parts  of  a  Loom  —  Preparing  a  Long  Warp  —  Construc- 
tion of  Warp  Board  —  The  Warp  Board  in  I'se  —  Taking 
Off  the  Warp  —  The  Warping  Reel  —  Alternate  Method 
of  Warping  Four  Threads  —  Keeping  Account  of  Threads 
Warped  —  Warping  a  Number  of  Threads  at  Once  — 
Turning  On,  or  Beaming  —  The  War])  Spreader  or  Raddle 
-  Laying  in  Sticks  —  Knotting  the  Heddles  —  Heddlc 
St  ieks" —  Threading  the  Loom  —  The  Reed  —  Threading 
the  Reed  —  Placing  the  Reed  —  Tying  the  Loom  —  The 
Cloth  Beam  —  The  Shed  —  The  Small  Shuttle  —  The 
Bobbin  Winder  —  The  Temple  —  The  Reel 7-42 

CHAPTER  II 

PATTERN  WEAVING  —  Rag  Rugs  —  Introducing  Color  - 
Plaids  —  Pattern  Weaving  —  Beginning  the  Threading^ — 
Threading  the  Reed  —  Tying  the  Heddle  Sticks  —  Tying 
Heddle   Slicks  to  Treadles   --   Weaving   the  Pattern  - 
Weaving  a  Border  —  Second  Change  in  Pattern  —  Checked 
Paper  —  Adaptations  of  Patterns  —  Rose  Path  Pattern  — 
Threading  for  the  Rose  Path  Pattern  —  Weaving  the  Pat- 
tern —  Fine  Threads  Used  for  Warp  —  The  Lambs 43-58 

CHAPTER  III 

COLONIAL  PATTERNS  —  Reading  a  Pattern  Draft  —  The 
Big  Diamond  Pattern  —  The  Tie-l'p  —  Weaving  the  Pat- 
tern —  Double  Snowball  Pattern  —  Where  to  Begin  the 
Threading  for  Large  Patterns  —  Block  Work  Pattern 
Chariot  Wheel  Pattern  -  The  Orange  Peel  Pattern 
Governor's  ( ianlen  —Bonaparte's  March  Pattern — Weaving 
Borders  —  Snail's  Trail  Pattern  —  The  Blooming  Flower 
Pattern  —  Pine  Knot  Pattern  —  Federal  Knot  Pattern  — 
Wheel  of  Fortune  Pattern  —  Irish  Chain  Pattern  —  The 
Tie-Up  of  Irish  Chain  —  Rings  and  Chains  —  Old  Quilt 
Pattern  —  Miscellaneous  Patterns  —  Wind  Flower  Pattern 
—Whip  Hose  Pattern 59-100 


CHAPTER  IV 

DANISH  AND  NORWEGIAN  WEAVING  —  Expressing  Dan- 
ish Patterns  —  Reading  a  Danish  Draft  —  Tying  the 
Treadle  —  Danish  Patterns 101-105 

CHAPTER  V 

SWEDISH  WEAVING  —  Swedish  Way  of  Writing  a  Draft  - 
Irregular  Threading   -      Three-Harness    Draft    -       Eight- 
Harness  Pattern  —  Heddle  Frames  —  Tie-Up  for  Two  Sets 
of  Lambs  —  Six-Harness  Pattern  — •  Six-Harness  Loom  — 
Eight-Harness  Loom  —  Miscellaneous  Swedish  Patterns.  .106-150 

CHAPTER  VI 

DAMASK  WEAVE  —  Double  Weave  —  Damask  Weave  - 
Threading  the  Reed  —  Tie-Up  —  Ten-Harness  Tie-Up  — 
Table   Mat  --  Rug  Weaving   in   Wool  —  Operation  of 
Treadles  —  Double  Weaving  —  Threading  Double  Weave 
Pattern 107-165 

CHAPTER  VII 
TEXTILES  AND  WOOD  —  Combinations  of  Textiles  and  Wood 

—Foot  Stool— Waste  Basket— Screens 166-174 

CHAPTER  VIII 
DESIGN    AND    CONSTRUCTION    OF    LOOMS    -  -    Danish 

Looms — Swedish  Looms 175-182 

CHAPTER  IX 
DYES  AND  DYEING  —  Utensils  Used  —  Washing  of  Wool 

Water  Used  in  Washing  —  Mordant  —  Formulae  for  Dye- 
ing —  Yellows  —  Reds  —  Preparation  of  Olium  —  Blue 
Dyes  —  Green  Dyes  —  Violet  Dyes  —  Violet  With  Cochi- 
neal —  Violet  With  Cochineal,  or  Madder  —  Brown  Dyes  — 
Gray  Dyes  —  Black  Dyes  «—  Further  Use  of  Used  Dye 
Liquids  —  Yellow  After  Dyes  —  Red  After  Dyes  —  Blue 
After  Dyes  —  Violet  After  Dyes  —  Green  After  Dyes 
Dyeing  of  Old  Goods  —  Bleaching  Woolen  Goods  —  Hand 
Measures 183-208 


Foot -Power  Loom  Weaving 


CHAPTER  I 
The  Loom,  Warping  and  Threading 


Loom  Weaving 

Notwithstanding  the  introduction  of  the  power 
loom  and  all  its  wonderful  possibilities,  the  hand 
loom  still  survives  and  seems  likely  to  continue  in 
use  since  numerous  schools  and  handicraft  societies 
as  well  as  many  independent  art  workers  are  becom- 
ing interested.  This  gives  hope  that  at  some  time 
in  the  near  future  the  domestic  occupations  of  weav- 
ing and  spinning  in  both  flax  and  wool  will  again 
find  a  place,  not  only  in  the  home  but  also  in  the 
studio  and  in  the  industrial  school.  The  apprecia- 
tion of  handwork  has,  during  the  past  decade,  in- 
creased in  the  estimation  of  the  public. 

In  various  European  countries,  as  well  as  in 
India,  China  and  Japan,  hand  loom  weaving  still 
continues.  In  Norway  and  Sweden  a  very  success- 
ful line  of  home  industry  is  carried  on  to  great  ad- 
vantage to  many  women  who  find  it  necessary  to 
aid  in  the  family  support.  This  may  also  be  said 
of  the  women  in  the  Orkney  and  Shetland  Islands. 


Of  late  much  has  been  written  of  the  beautiful 
hand-weaving  done  by  the  women  in  the  moun- 
tains of  Kentucky  and  Tennessee.  So  attractive  is 
this  work  that  little  difficulty  is  experienced  in 
disposing  of  the  articles  woven. 

Since  the  introduction  of  machine  spinning  and 
weaving,  no  home  industry  which  approaches  them 
in  usefulness  or  interest  has  taken  their  place.  It 
is  true  that  there  are  many  lines  of  weaving  now  pro- 
duced by  the  machine,  too  intricate  to  be  attempted 
on  the  hand  loom,  but  the  weaving  of  linen,  cotton, 
woolen  and  the  coarser  silk  threads  into  materials 
of  strength  and  beauty  for  home  use,  can  quite  well 
be  carried  on  in  the  studio  and  even  by  the  home- 
maker  who  has  other  household  occupations. 

There  is  no  doubt  as  to  the  superiority  of  a  well 
made,  hand-woven  article.  This  is  plainly  shown 
if  the  hand-made  and  the  machine-made  articles  are 
compared.  Hand  loom  weaving,  too,  is  superior 
to  machine  weaving  if  judged  by  the  effect  it  is 


likely  to  have  on  the  worker.  The  hand  weaver  is 
employed  in  a  pleasant,  ingenious  occupation  which 
exercises  all  his  faculties,  while  the  attendant  on  a 
power  loom  is  engaged  in  a  monotonous  toil  in  which 
no  quality  but  intense  watchfulness  is  required. 

The  object  of  this  manual  on  weaving  is  to  give 
to  the  amateur  weaver  the  benefit  of  the  author's 
experience  in  preparing  the  fibers,  the  warping 
and  the  threading  of  the  loom  for  plain  weaving,  as 
well  as  learning  to  interpret  and  to  execute  various 
pattern  drafts  used  in  our  own  country  and  in 
other  countries. 

Through  the  exercises  given  it  is  hoped  the 
weaver  may  be  led  to  invent  and  to  work  out  many 
interesting  and  original  designs. 

The  Construction  of  Plain  Cloth 

If  a  piece  of  plain  cloth  is  examined  it  will  be 
found  to  consist  of  a  number  of  longitudinal  threads 
placed  side  by  side  and  interlaced  by  a  continuous 
single  thread.  The  latter  thread  passes  alternately 
above  and  below  or  before  and  behind  the  longi- 
tudinal threads.  Fig.  1  shows  the  arrangement  of 
the  longitudinal  threads  and  the  continuous  thread 
crossing  and  intersecting  them. 

The  longitudinal  threads  of  a  piece  of  woven 
material  are  always  called  the  warp.  They  are  so 
named,  because,  in  order  to  allow  their  being  inter- 


Fig.  1— A  Piece  of  Plain  Cloth 


sected  conveniently  by  the  continuous  crossing 
thread  they  have  to  be  warped,  that  is,  tightly 
strained  in  position  on  some  kind  of  frame  prepared 
for  the  purpose.  The  continuous  crossing  thread 
has  several  names,  such  as  weft,  woof,  or  shoot 
(shute).  " 

If  the  warp  threads  are  carefully  examined 
they  will  be  found  to  consist  of  several  fine  threads 
twisted  together.  This  is  done  to  give  added 
strength.  The  weft  may  be  single  and  the  thread 
only  slightly  twisted,  as  this  makes  it  soft  so  the 
warp  and  weft  are  easily  pressed  together  into  a 
firm  material. 

The  weaving  of  mats  and  baskets  from  local 
materials  and  from  raffia,  reed  and  willow  may  be 
done  without  any  special  appliance  for  holding  or 
stretching  the  material  while  it  is  being  woven. 

When  fine  thread  is  to  be  woven  the  problem 
is  very  different,  and  it  becomes  absolutely  necessary 
to  devise  some  kind  of  frame  to  hold  and  stretch 
the  war])  upon,  so  that  the  weft  may  be  readily 
interlaced  with  it.  The  more  elaborate  frame  con- 
structed for  this  purpose  has  by  universal  consent 
been  called  a  loom. 

The  Essential  Part  of  a  Loom 

In  all  the  ancient  pictures  of  looms  the  stretched 
warp  threads  are  shown  and  the  insertion  of  the 


® 


Fig  2 — Simple  Loom 


weft  threads  is  suggested;  but  the  lease,  the  one 
universal  and  indispensable  contrivance  used  in 
weaving,  has  been  omitted.  While  not  shown,  it 
must  have  been  there,  for  no  loom  could  be  operated 
without  it. 

Fig.  2  illustrates  the  three  steps  in  the  con- 
struction of  a  simple  loom.  The  construction  is 
similar  to  the  looms  made  by  the  pupils  of  the 
lower  grades. 

Fig.    2,    "A"    shows    the    loom    without    the 
thread. 

"B"  shows  the  warp  threads  wound  upon  it 
lengthwise. 


10 

"C"  shows  the  strings  on  the  board  intersected 
by  two  rods,  "D,"  in  such  a  way  that  alternate 
strings  go  over  and  under  each  rod.  In  the  space 
between  the  rods  the  alternate  strings  cross  each 
other  in  regular  succession.  While  the  rods  "D" 
are  kept  in  their  position  in  the  warp  it  js  impossible 
for  the  threads  to  get  out  of  place  or  to  get  hope- 
lessly entangled,  as  they  certainly  would  if  any 
great  number  of  threads  were  used. 

This  cross  is  called  the  lease  and  is  really  the 
one  indispensable  part  of  the  loom.  No  two  looms 
may  be  alike  in  any  other  respect  but  in  the  case 
of  the  lease.  One  cannot  dispense  with  this  simple 
yet  perfect  contrivance  for  keeping  the  warped 
threads  in  order  when  a  long  warp  made  up  of 
hundreds  of  threads  is  required. 

Preparing  a  Long  Warp 

A  warp  longer  than  the  loom  cannot  be  made 
upon  the  loom  as  was  shown  in  A,  B,  C,  Fig.  2. 

This  being  true,  some  sort  of  apparatus  must  be 
constructed  on  which  to  build  up  a  series  of  threads 
of  exactly  the  required  length  and  number  of  threads. 
These  threads  must  be  held  in  exactly  the  same  ten- 
sion so  that  when  transferred  to  the  loom  and 
stretched  between  its  front  and  back  beams  they 
shall  give  the  weaver  as  little  trouble  as  possible 
with  loose  threads. 


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Fig.  3 — Use  of  Warping  Board 

This  process  of  preparing  the  threads  is  called 
warping.  There  are  several  ways  of  doing  the 
warping. 

Construction  of  Warping  Board 

Fig.  3  shows  the  construction  of  a  warping 
board.  On  this  board  may  be  warped  a  moderate 
number  of  threads,  such  as  would  be  required  for 
a  foot-power  loom.  The  warping  board  makes  it 
possible  to  illustrate  perfectly  the  principles  of 
warping. 


The  board  shown  in  Fig.  3  (1,  2  and  3)  is  six 
feet  long  by  one  foot  wide.  It  is  made  to  hang 
firmly  on  a  wall  at  such  a  height  from  the  ground 
that  the  operator  can  reach  to  any  part  of  it  without 
difficulty. 

On  a  board,  the  size  indicated  in  Fig.  3,  a  warp 
ton  yards  in  length  may  be  warped.  A  longer 
length  may  be  warped  either  by  increasing  the  length 
of  the  board  or  by  increasing  its  width  and  adding 
to  the  number  of  pegs.  The  pegs  should  be  made  of 
hard  wood  not  less  than  six  inches  long  and  one  inch 
in  diameter. 

The  pegs  marked  A  and  E  must  be  movable, 
perfectly  smooth  and  have  nicely  rounded  ends. 
The  space  between  A  and  B  should  not  be  less  than 
one  foot,  and  the  space  between  B  and  C,  six  inches. 
The  space  between  D  and  E  should  also  be  one 
foot.  (No.  1,  Fig.  3). 

The  Board  in  Use 

Let  the  problem  at  hand  be  to  make  a  warp  of 
thirty  threads  ten  yards  long. 

Place  a  spool  of  ordinary  four-ply  carpet  warp 
on  end  in  a  receptacle  of  some  kind  in  order  that  the 
thread  may  freely  unwind.  If  a  spool  rack  may  be 
conveniently  had  the  spool  may  be  slipped  on  to 
one  of  the  rounds  of  the  rack.  Tie  the  free  end  of 
the  spool  of  warp  to  the  movable  peg  A,  No.  2, 


11 

Fig.  3.  Guide  the  thread  under  peg  B  and  over 
peg  C.  Then  follow  the  dotted  line,  as  shown  in 
No.  2,  Fig.  3,  by  allowing  the  thread  to  pass  outside 
the  pegs  1,  2,  3,  back  to  4,  then  to  pegs  5,  6  and  7, 
until  it  reaches  peg  D,  which  it  goes  under.  Carry 
the  thread  now  over  and  under  peg  E,  and  then 
begin  its  return  by  carrying  the  thread  over  D, 
No.  3,  Fig.  3,  on  to  peg  7  (see  dotted  lines)  and  so 
back  in  the  same  course,  until  we  again  reach  peg  1. 
It  must  now  be  taken  below  C,  over  B,  and  below  A 
(see  dotted  lines).  This  completes  one  course.  The 
warping  board  should  now  look  like  No.  3,  Fig.  3, 
with  the  threads  crossed  between  pegs  B  and  C, 
and  D  and  E.  Two  threads  have  now  been  warped, 
having  a  length  of  ten  yards  between  the  crosses. 

The  second  thread  having  been  carried  around 
and  over  peg  A,  went  under  B  and  then  followed 
exactly  the  course  of  the  first  thread  until  it  reached 
E.  Then,  following  the  second  thread  back  it  reaches 
A,  goes  under  and  over  the  peg,  and  four  threads 
out  of  the  thirty  are  warped.  By  the  time  fifteen 
forward  and  fifteen  backward  journeys  are  made  the 
sample  warp  of  thirty  threads  is  finished  and  may 
be  taken  from  the  board  as  soon  as  the  crosses  have 
been  made  secure. 

One  can  readily  understand  by  the  above  ex- 
planation that  a  great  amount  of  time  would  be 
consumed  in  making  a  warp  by  handling  one  thread 


12 


at  a  time.  Since  four-ply  carpet  warp  is  to  be 
used  for  the  first  warping,  four  spools  may  be 
placed  on  the  spool  rack,  the  four  ends  tied  to  the 
proper  peg  at  one  time  and  then  the  course  pursued 
with  the  four  threads,  as  was  described  for  only  one 
thread.  This  causes  four  threads  to  pass  under  and 
over  the  pegs  instead  of  one.  On  account  of  the 
coarseness  of  the  warp  there  is  little  or  no  danger 
of  the  threads  becoming  tangled.  A  more  detailed 
explanation  of  running  more  than  four  threads  will 
be  given  later.  The  above,  however,  works  very 
successfully. 

Securing  the  Crosses 

The  important  matter  of  securing  the  crosses 
is  easily  done,  but  if  forgotten  the  warp  will  be 
spoiled  when  it  is  removed  from  the  board. 


Fig.  4 — Securing  the  Crosses 

Fig.  4  shows  clearly  the  way  it  is  done.  The 
letters  indicate  the  pegs  of  the  warping  board,  the 
heavy  lines  are  the  threads  of  a  warp,  which  may  be 
of  any  number  of  threads. 

The  important  crosses  are  shown  between  C 
and  B  and  between  D  and  E.  A  thin,  pliable  cord 


about  two  yards  long  is  now  drawn  in  at  each  cross 
from  the  back  to  the  front,  through  the  openings  in 
front  of  the  pegs.  Tie  the  ends  of  the  cord  as  shown 
in  Fig.  4.  By  this  means  the  crosses  are  perfectly 
secured. 

It  will  be  observed  that  there  is  another  cross 
in  the  warp  between  B  and  A.  This  is  not  so  im- 
portant. A  short  cord  may  be  drawn  through  the 
loop  at  peg  A,  and  the  threads  may  be  tied  all  to- 
gether. 

The  warp  may  now  be  removed  from  the  board 
and  made  into  what  is  called  a  chain. 

Taking  Off  the  Warp 

The  warp  is  taken  off  the  warping  board  for 
convenience  in  transferring  it  from  the  board  to 
the  warp  beam  of  the  loom. 

The  crosses  having  been  made  secure,  the  warp 
is  ready  to  be  removed  from  the  board.  The  long- 
strings  between  the  crosses  may  be  wrapped  around 
the  warp  to  prevent  them  from  hanging  in  the  way. 

First  remove  the  peg  A,  Fig.  5.  Allow  the  warp 
to  slip  from  the  other  pegs,  B  and  C,  and  also  No. 
1,  Fig.  5.  Hold  the  warp  with  the  left  hand  about 
two  feet  from  the  end.  While  the  warp  is  being  held 
with  the  left  hand,  throw  the  end  over  the  warp 
with  the  right  hand,  as  shown  at  F,  Fig.  5. 


13 


C     B 


Fig.  5 — Taking  Off  the  Warp 


This  makes  a  kind  of  loop.  With  the  left  hand 
still  holding  the  warp,  the  right  hand  is  put  through 
the  loop  at  G,  Fig.  5.  The  warp  is  grasped  and  drawn 
through  the  loop  far  enough  to  make  a  second  loop, 
held  by  the  right  hand.  The  left  hand  is  now  free 
and  is  put  through  the  new  loop  held  by  the  right 
hand.  The  warp  is  grasped  and  drawn  through  the 
new  loop  thus  making  a  third  loop  held  this  time 
by  the  left  hand.  The  right  hand  being  free  is  put 
up  through  the  third  loop,  the  warp  is  grasped  and 
drawn  through  the  loop.  This  is  continued  until 
the  entire  warp  has  been  removed  from  the  board. 


The  process  of  taking  off  the  warp  will  be  rec- 
ognized as  the  same  as  making  a  chain  stitch  in 
crocheting,  the  hands  doing  the  work  instead  of  a 
hook.  See  Fig.  6. 

Before  placing  the  warp,  which  may  now  be 
called  a  chain,  on  the  warp  beam  of  the  loom,  another 
method  of  warping  will  be  considered,  ^ju^ 

The  Warping  Reel 

The  use  of  the  warping  reel,  sometimes  called 
the  warping  mill,  somewhat  simplifies  the  process  of 
warping.  Fig.  7  shows  a  working  drawing  of  a  warp- 
ing reel,  and  Fig.  8  shows  the  finished  reel. 


Fig.  6 — Chain  made  with  warp  from  warping  board 


14 


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It  will  be  observed  that  the  pegs  appear  on  the 
cross  bars  of  the  finished  reel  marked  A,  B,  C, 
and  D,  E,  the  same  as  on  the  warping  board.  The 
distance  between  the  upright  posts  of  the  reel  is 
27  inches.  The  spools  of  warp  are  placed  as  when 
the  warping  board  was  used.  Some  sort  of  a  spool 
rack  is  almost  indispensable.  Yet  any  convenient 
way  of  arranging  the  spools  so  the  thread  will  freely 
unwind,  will  answer  the  purpose.  Fig.  9  shows  the 


15 

working   drawing   of   the   spool   rack   and   Fig.    10 
shows  the  finished  rack. 

Supposing  that  four  threads  are  to  be  warped 
at  one  time.  The  four  ends  are  all  tied  at  one  time 
to  peg  A,  Fig.  11.,  They  are  carried  under  B  and  over 
C  and  then  start  on  their  way  around  the  reel,  the 
threads  being  guided  on  their  way  to  pegs  D  and  E 
by  the  left  hand  while  the  reel  is  turned  by  the  right 
hand.  The  person  performing  the  work  remains 


A  !>  C 

Fig.   11 — Method  of  Starting  Threads 


Fig.   12 — Threads  Passed  over  Lower  Pegs 


Fig.  3— Working  Drawing  of  Spool  Rack 


Fig.    10— Spool  Rack 


A  B  C 

Fig.   13— Another  Method  of  Starting  Threads 


16 

stationary.  On  reaching  peg  D  the  group  of  four 
threads  is  carried  over  it,  under  and  around  E  and 
back  under  D,  as  shown  in  Fig.  12.  From  here  the 
threads  start  back  toward  pegs  A,  B  and  C,  passing 
under  C,  over  and  under  and  around  A,  under  B 
and  over  C,  as  in  the  beginning. 

The  reel  measures  27  inches  between  posts. 
Passing  around  the  reel  once  is  equal  to  three  yards 
of  warp.  Knowing  this,  makes  it  an  easy  matter 
to  measure  off  any  number  of  yards. 

Another  Way  to  Begin  With  Four  Threads 

The  four  threads  may  be  tied  together  and 
slipped  on  to  peg  A,  two  threads  being  on  top  of  the 
peg  and  the  other  two  below.  Bring  the  two  threads 
which  are  below  A,  over  B,  and  the  two  above 
A,  below  B.  Allow  the  two  below  B  to  pass  over  C. 
and  bring  the  two  above  B  so  that  they  pass  below 
C,  Fig.  13.  From  this  point  the  four  threads  are 
guided  around  the  reel  just  as  above  described.  The 
four  threads  pass  over  and  under  D  and  E,  as  shown 
in  Fig.  12.  On  their  return  to  peg  A  the  four  threads 
pass  under  the  pegs  the  two  went  over,  and  over  the 
pegs  the  two  went  under,  and  the  warping  proceeds  in 
the  same  manner  as  when  using  the  warping  board. 

Keeping  Account  of  the  Number  of   Threads  Warped 

As  soon  as  the  threads  have  crossed  a  few  times 
between  pegs  D  and  E,  it  will  be  found  difficult  to 


remember  how  many  threads  are  gathered  together 
on  the  pegs.  It  becomes  necessary  to  use  some  de- 
vice for  keeping  count  in  order  to  know  when  the 
warp  is  completed. 

This  account  can  be  easily  kept  if  a  piece  of 
cord  or  tape  is  used. 

After  the  group  of  four  threads  passes  between 
pegs  D  and  E  five  times,  draw  one  end  of  the  cord 
or  tape  through  the  opening  next  to  peg  D  and  the 
other  end  through  the  opening  next  to  E,  as  shown 
in  Fig.  14. 


Fig.   14 — Keeping  Account  of  Threads  Warped. 

The  warping  continues  until  five  more  groups 
have  been  warped  or  reeled,  as  the  process  is  some- 
times called.  The  end  of  the  colored  cord  or  tape 
marked  "f,"  Fig.  14,  is  now  passed  through  the 
opening  next  to  peg  D,  and  the  end  of  the  cord  or 
tape  marked  "e"  passes  through  the  opening  next 
to  peg  E,  thus  making  a  cross  in  the  cord  or  tape 
between  the  first  group  of  five  and  the  second  group 
of  five.  As  there  are  twenty  threads  in  each  group 
the  worker  knows  that  the  warp  contains  forty 
threads.  This  is  continued  until  the  required  num- 
ber of  threads  has  been  reeled. 


17 


The  cross  at  the  beginning  and  the  one  at  the 
end  of  the  warp  are  now  secured  in  the  same  way  as 
when  the  warp  is  made  on  the  warping  board. 

Removing  the  Warp  from  the  Reel 

Peg  A  is  removed  and  the  warp  is  slipped  from 
pegs  B  and  C.  A  chain  is  made  the  same  as  when 
removing  a  warp  from  the  warping  board.  See 
Fig.  15. 

To  Warp  a  Number  of  Threads  at  Once 

If  only  four  or  six  threads  are  warped  at  a  time 
these  may  easily  be  carried  and  placed  over  and 
under  the  pegs  in  a  group.  It  will  be  learned  a  little 
later  that,  when  the  lease  rods  are  placed,  either  four 
or  six  threads,  according  to  the  number  warped  at 
a  time,  will  pass  over  and  under  the  rods  at  one  time. 

When  eight,  ten,  twelve,  or  sixteen  threads  are 
warped  at  a  time  the  problem  is  somewhat  more 
complicated  and  should  be  done  in  such  a  way  as  to 
bring  alternate  threads  over  and  under  the  lease 
rods.  This  arrangement  of  the  threads  makes  the 
threading  of  the  loom  easy  and  keeps  the  threads 
from  becoming  snarled  or  twisted  one  with  another. 
Arrange  the  spools  on  the  spool  rack,  as  shown  in 
Fig.  16. 

A  paddle-shaped  piece  of  \"  or  3-16"  basswood 
is  cut  as  shown  in  Fig.  17,  to  serve  as  a  guide.  Any 
number  of  holes  may  be  bored.  Sixteen  is  usually 


Fig.  15 — Removing  the  Warp  from  the  Reel 


18 


n 

Fig.  16 — Spools  on  Rack 


•  —  ss  —  j       -ft 

/T    ~~Y~ 

o         o 

0             0 

0             0 

o         o 

0             0 

) 

0 

o         o 

0            O 

jy 

1 

• 

Fig.  17— A  Paddle 


the  greatest  number  for  the  amateur.  The  ends  of 
the  threads  coming  from  the  spools  on  the  left  side 
of  the  rack  and  all  unwinding  in  the  same  direction 
are  threaded  through  the  holes  in  the  left  side  of 
the  guide,  Fig.  17A,  and  the  ends  coming  from  the 
spools  on  the  right  side  of  the  rack  are  threaded 


through  the  holes  in  the  right  side  of  the  guide,  17A. 
The  ends  are  now  all  gathered  together  and  tied  in 
one  knot  and  slipped  over  peg  A  of  the  warping  reel, 
four  threads  being  on  top  and  four  below  the  peg, 
the  threads  fixed  to  peg  A,  Fig.  17A.  The  guide  is 
held  in  the  left  hand  in  an  upright  position  so  the 
threads  are  well  separated.  With  the  first  finger 
and  thumb  of  the  right  hand  the  threads  (warp) 
must  be  crossed.  This  is  done  by  placing  the  first 
finger  of  the  right  hand  on  the  lowest  thread  on  the 
right  side  of  the  guide  and  pressing  it  downward, 
Fig.  18.  The  thread  just  pressed  down  passes  under 
the  finger  and  over  the  thumb.  With  the  thumb 
press  down  the  lowest  thread  on  the  left  side  of 


Fig.  17 A— Method  of  Using  Paddle 


19 


Reeling  Eight  Threads  with  Paddle 


Fig.  18 — First  Thread  Pulled  Down     Fig.  19 — Second  Thread  Pulled  Down 

the  guide,  Fig.  19.  This  thread  passes  under  the 
thumb  and  over  the  finger.  Allow  the  finger  to  press 
down  the  second  thread  on  the  right  side  of  the  guide. 
This  thread  now  passes  under  the  finger  and  over  the 
thumb.  With  the  thumb  press  down  the  second 
thread  on  the  left  side  of  the  guide,  Fig.  18.  This  is 
continued  until  all  the  threads  are  crossed  on  the 
finger  and  thumb  of  the  right  hand.  This  cross  is 
transferred  to  the  pegs.  When  placed  on  the  pegs 
B  and  C,  it  will  be  found  that  there  is  a  crossing  of 
alternate  threads.  The  eight  threads  are  now  held 


in  one  group  and  carried  around  the  warping  reel 
until  the  pegs  at  the  other  end  are  reached.  The 
group  of  threads  are  carried  over  and  under  the  pegs 
the  same  as  was  described  with  the  warping  board 
when  only  one  or  four  threads  at  a  time  were  warped. 

Turning  On,  or  Beaming 

At  the  present  time  the  warp  is  in  a  long  chain 
ready  to  be  placed  on  the  loom  in  such  a  way  as  to 
make  it  possible  for  the  weaver  to  produce  a  piece 
of  cloth.  To  do  this  the  ends  at  E  must  be  attached 
to  a  roller,  (in  this  case  the  warp  beam)  and  spread 
out  and  wound  evenly  and  tightly  upon  it.  The  warp 
beam  fits  into  the  back  of  the  loom  frame,  as  shown 
in  Fig.  20. 

For  demonstration,  suppose  that  the  cloth 
to  be  woven  is  22  inches  wide  and  there  are  to  be  24 
threads  to  each  inch.  The  warp  then  contains  528 
threads,  and  this  number  is  made  up  of  66  groups  of 
eight  threads  each.  It  will  be  remembered  that 
count  was  kept  of  the  groups  by  means  of  the  cord 
or  tape  between  the  pegs  D  and  E  while  the  warp- 
ing was  in  progress. 

The  Warp  Spreader  (Raddle) 

Fig.  21  shows  a  working  drawing  of  the  spreader, 
also  called  raddle. 

Fig.  22  shows  the  drawing  of  the  finished 
spreader  with  the  top  removed. 


21 


Fig.  20 — Loom  with  Parts  Named 


22 


1       |_fl_^  ^—  M|      .     A 

E 

III       0 

Mater 

ThichneM 

^  Dowel  p.na 

a 

RSSS 

2 

It 

TF 

i| 

MO 

Poweln 

* 

s 

Diam 

e 

Fins 

li 

i 

ft  G^ove   js    deep  cut  m  upper  rai  I  to  fit  over 


:  O 


J  o  ; 


IV 

1 


Fig.  21 — Working  Drawing  of  Warp  Spreader  or  Raddle 


The  spreader  is  most  simply  described  as  a  comb,  The  cap  is  deeply  grooved  above  the  teeth  and 

with  a  movable  cap  to  cover  the  ends  of  the  teeth.  has  holes  near  the  ends.     Through  these  holes  the 

The  frame  is  made  of  wood.    The  teeth  may  be  made  sides  of  the  frame  pass  in  order  to  fix  it  on,  as  shown 

of  dowel  rods  or  hard  wire.     Nails  have  sometimes  in  Fig.  22. 

been  used.  A  loom  fully  equipped  has  in  the  equipment  a 


Fig.  22 — Warp  Spreader  with  Cap  Removed 


couple  of  rods,  one  to  be  used  in  placing  the  warp 
on  the  beam. 

With  the  chain  at  hand  and  taking  the  end 
which  when  on  the  reel  was  between  D  and  E,  push 
a  rod  through  the  opening  marked  "A,"  Fig.  23. 
Untie  the  cord  which  held  the  cross  and  allow  it 
to  remain  on  the  other  side  of  the  crossed  threads, 
as  shown  in  B,  Fig.  23.  Tie  the  ends  of  the  cord  to 
the  ends  of  the  rod,  as  shown  in  Fig.  23,  C  and  D. 
By  so  doing  the  cross  is  retained.  The  rod  may  now 
be  tied  to  the  warp  beam.  A  provision  is  always 
made  for  this  tying.  In  the  old  colonial  looms, 
holes  are  bored;  the  same  is  true  of  the  Swedish  type, 
while  the  Danish  looms  have  a  groove  ploughed 
in  the  beam  from  end  to  end  into  which  a  smooth 
wooden  or  metal  stick  is  placed  to  hold  the  warp  to 
the  beam. 


Fig.  23 — Method  of  Keeping  the  Cross 


23 

From  the  front  of  the  loom  remove  the  beater, 
sometimes  called  the  batten,  the  breast  beam  and 
the  harness,  Fig.  20.  This  makes  a  free  opening 
from  the  front  to  the  warp  beam. 

Tie  the  rod  shown  in  Fig.  23  to  the  warp  beam 
with  No.  16  blocking  twine.  This  fastens  the  chain 
to  the  beam,  but  in  order  that  it  may  be  placed  on 
the  beam  evenly  the  groups  of  thread  must  be  dis- 
tributed in  the  warp  spreader.  Place  the  spreader 
under  the  chain  and  on  a  level  with  the  warping 
beam.  To  hold  the  spreader  in  this  position  it  may 
be  tied  to  the  upright  parts  of  the  loom,  or  it  may  be 
held  by  two  persons,  one  at  each  side  of  the  loom. 
Fig.  24  shows  the  spreader  in  place.  With  the  top 
of  the  spreader  removed  the  groups  of  thread  may 
now  be  distributed  in  their  regular  order.  Since 
there  are  528  threads  in  all  and  eight  threads  in  each 
group,  there  will  be  exactly  60  groups.  There  are 
to  be  24  threads  to  each  inch.  This  means  that 
three  groups  of  eight  threads  must  be  placed  to  the 
inch.  This  will  occupy  three  spaces  on  the  spreader. 

By  means  of  the  cross  the  groups  of  thread  may 
be  used  in  their  regular  order  and  placed  in  the 
spaces  of  the  spreader.  When  this  is  completed  the 
cap  is  placed  and  fastened,  and  the  warp  is  ready 
to  be  beamed. 


24 


Fig.  24 — Spreader  in  Place  on  Loom 


One  person  holds  the  chain  and  the  other  turns 
the  beam,  by  placing  a  peg  into  one  of  the  holes  at 
the  end  of  the  beam,  as  shown  at  A,  Fig.  24. 

Laying    in    Sticks 

As  the  warp  is  being  wound  on  to  the  beam, 
thin  strips  of  wood  about  3-16"  in  thickness  are  laid 
on  the  beam  for  the  warp  to  wind  on.  This  prevents 
the  warp  from  becoming  tangled  and  also  keeps  the 
warp  even  across  the  entire  beam.  Strips  such  as 
are  used  in  the  bottom  of  shades  are  good  for  this 
purpose.  After  four  or  five  yards  of  warp  are  wound 
on  to  the  beam,  lay  in  more  strips. 

A  stand  may  be  made  to  hold  the  spreader, 
as  shown  in  Fig.  25.  Fig.  26  shows  the  warp  dis- 
tributed. After  the  warp  is  distributed  the  cap  is 
placed,  thus  holding  the  groups  of  threads  securely 


in  their  proper  spaces.  The  spreader,  warp,  and  all 
may  now  be  transferred  to  the  loom,  and  the  warp 
may  be  put  on  as  above  described. 

The  beam  is  turned  until  the  other  end  of  the 
chain  or  warp  is  reached.     Care  should  be  taken  to 


Fig.  25 — Stand  to  Hold  Spreader 


25 


Fig.  26— Warp  Distributed 

hold  the  warp  firmly  while  the  winding  is  done.  The 
chain  unravels  as  it  is  wound  on  to  the  beam.  When 
the  opposite  end  is  reached  the  cross  which  was  so 
carefully  guarded  at  the  pegs  A,  B  and  C  is  reached. 


Into  these  openings  the  lease  rods  are  placed,  as 
shown  in  Fig.  27. 

The  warp  spreader  may  now  be  removed. 


Fig.  27  -Lease  Rods  in  Place 


Fig.  28— Loops  Hanging  Over  Lease  Rods 

Later  the  loops  are  cut,  causing  the  ends  to 
hang  instead  of  the  loop,  as  shown  in  Fig.  28.  These 
ends  may  be  tied  in  bunches  in  a  loose  knot,  thus 
preventing  them  from  losing  their  places  in  passing 
under  and  over  the  lease  rods,  Fig.  31. 

Knotting  the  Meddles 

The  warp  placed  on  the  beam,  it  now  becomes 
necessary  to  consider  the  knotting  of  heddlcs  or 
leashes,  as  they  are  sometimes  called.  In  order  that 
each  heddle  may  be  of  exactly  the  same  size,  a  heddlc 
frame  is  constructed  about  12  inches  by  1^  inches 
by  3  inches,  shown  in  Fig.  29.  The  pegs  are  num- 
bered a,  b,  c  and  d.  About  \\"  from  each  end  a  peg 


26 


J 

(j)       (4) 

0 

, 

'It  ]               "4 

'A 

~t* 

I. 

Fig.  29 — Working  Drawing  of  Heddle  Frame 


Fig.  30 — Method  of  Tying  Heddles 


is  placed  and  in  the  center  two  pegs  are  placed  one 
inch  apart,  Fig.  30.  The  pegs  should  be  rounded 
at  the  top  and  well  sanded  to  make  them  perfectly 
smooth,  thus  causing  the  heddles  to  slip  off  easily. 

The  ordinary  four-ply  carpet  thread  is  a  fairly 
good  material  to  be  used  in  heddles.  Sometimes 
linen  thread  is  used  and  sometimes  a  hard  twisted 
cotton,  called  seine  twine,  used  in  fish  nets,  is 
utilized.  The  twine  is  cut  long  enough  in  order  that 
it  may  be  looped  around  a,  Fig.  30.  Tie  a  knot  at 
b  and  another  as  shown  in  c.  The  ends  are 
then  tied  at  "d."  From  25  to  50  may  be  tied  before 
removing  them  from  the  pegs.  There  must  be  as 
many  heddles  as  there  are  threads  in  the  warp. 
Heddles  found  in  the  market  are  made  of  wire. 
These  may  be  successfully  used. 

Heddle  Sticks 

In  most  foot-power  looms  the  heddle  sticks  are 
used  instead  of  the  heddle  frames.  Fig.  31  shows, 
at  A,  heddles  on  the  sticks.  The  harness,  which 
consists  of  the  various  heddle  sticks  on  which  the 
heddles  have  been  placed,  is  now  hung  in  the  position 
as  shown  in  Fig.  31.  The  person  who  is  to  do  the 
threading  sits  in  the  front  of  the  harness. 

Threading  the  Loom 

The  harness  consists  of  two  sets  of  heddles,  one 
directly  back  of  the  other,  as  shown  in  Fig.  31. 


Fig.  31      Heddles  in  Place  for  Threading 


The  threading  of  the  first  loom  will  be  for  plain 
weaving,  such  as  may  be  used  in  rugs.  The  one 
who  is  to  thread  the  loom  has  comfortably  seated 
himself  in  front  of  the  harness  in  Fig.  32.  First  a 
heddle  on  the  front  sticks  is  pushed  along.  The 
first  thread  is  picked  up  and  the  end  is  threaded 
through  the  eye  left  for  this  purpose  in  the  heddle. 
A  heddle  ,is  now  taken  from  the  back  sticks  and  the 
second  thread  is  picked  up  and  placed  in  the  eye  of 


27 

the  heddle.  After  being  threaded  it  is  pushed  along, 
another  heddle  from  the  front  sticks  is  picked  out, 
and  the  third  thread  is  put  through  the  opening. 
It  now  is  pushed  along  and  a  heddle  from  the  back 
sticks  is  picked  out  and  threaded  with  the  fourth 
thread. 

This  is  continued  until  all  threads  have  been 
used.  The  heddles  must  be  so  placed  on  the  sticks 
that  each  one  may  be  slipped  along  without  inter- 
ference from  any  of  the  others.  When  four  threads 
pass  over  and  under  the  lease  rods  at  one  time  the 
threads  should  be  taken  in  their  regular  order  as 
nearly  as  possible.  Four  threads  going  either 
over  or  under  are  threaded  before  taking  the  next 
four.  If  the  threads  are  crossed,  as  shown  in  Figs. 
18  and  19,  one  passing  over  and  the  other  under  the 
lease  rods,  they  are  threaded  in  their  regular  order. 

Threading  the  heddles  is  of  the  greatest  import- 
ance, as  one  mistake  will  throw  out  the  whole  suc- 
cession of  remaining  threads.  If  the  heddles  are 
of  string  the  threading  may  be  done  with  the  fingers 
only,  but  if  the  heddles  are  of  wire  it  will  require  a 
heddle  hook  to  draw  the  threads  through  the  eyes. 

The  Reed 

The  reed  is  the  long  comb-like  piece  of  apparatus 
which  fits  in  the  beater  or  batten  and  aids  in  pushing 
or  pressing  the  woof  in  its  proper  place,  Fig.  33. 
The  spaces  in  the  reed  are  usually  termed  "dents." 


28 


Fig.  32 — Threading  the  Heddles 


29 


Fig.  33— The  Reed 

Reeds  are  sold  by  number.  For  instance,  a 
number  12  reed  means  that  there  are  12  openings 
or  dents  to  the  inch.  A  number  15  reed  means  that 
there  are  15  dents  to  the  inch,  etc. 

Threading  the  Reed 

The  threads  having  been  drawn  through  the 
heddles  are  now  ready  to  enter  the  dents  of  the 
reed  and  must  again  enter  in  their  regular  order. 
The  threads  must  not  be  allowed  to  cross  one  another. 
In  ordinary  rug  weaving  one  thread  enters  each  dent. 
To  do  this  the  reed  is  hung  just  in  front  of  the 
harness,  as  shown  in  Fig.  34.  By  means  of  a  reed 
hook  the  threads  are  drawn  through  the  dents  in 
their  regular  order,  care  being  taken  to  use  each 
dent.  If  a  selvage  is  desired  two  threads  at  one  time 
are  drawn  through  the  first  four  and  the  last  four 
dents  of  the  reed.  The  reed  is  often  longer  than  the 
cloth  to  be  woven  is  wide;  when  this  is  true,  plan  to 
have  the  threads  occupy  the  center  part  of  the  reed, 
leaving  the  surplus  at  each  end.  If  a  single  dent 
should  be  omitted  the  weave  cannot  be  perfect. 
The  reed  hook  may  be  made  of  a  piece  of  thin  wood, 
as  shown 'in  Fig.  35.  In  threading  the  reed  the  hook 


Fig.  34 — Reed  in  Position  for  Threading 


is  pushed  through  the  dents  from  below,  catching 
the  thread  and  drawing  it  downward  through  the 
opening.  If  the  wooden  hook  as  shown  in  Fig.  35 
is  used,  it  may  be  pushed  into  the  dent  from  above, 
and  the  thread  may  be  placed  on  the  reed  in  such  a 
position  as  to  be  drawn  through  when  the  hook  is 
pulled  from  below.  After  a  number  of  threads  has 
been  entered  they  are  tied  into  a  bunch.  This  is 
done  partially  for  safety,  as  the  reed  may  slip  in 


30 

some  way  from  its  position  and  drop  to  the  floor, 
thus  causing  the  threads  to  slip  from  the  dents. 

Placing  the  Reed 

For  convenience  in  threading,  the  harness  and 
reed  are  hung  close  to  the  warp  beam,  as  in  this 


position  the  weaver  can  sit  in  a  comfortable  position 
while  doing  the  threading. 

The  threading  having  been  completed  the 
harness  and  reed  are  brought  forward.  The  batten 
is  hung  and  the  reed  put  in  its  proper  place  in  the 
batten,  as  shown  in  Fig.  36. 


Fig.  35— Reed  Hooks 


Fig.  36 — Loom  Ready  for  Tying  Up 


31 


The  loom  is  now  ready  to  be  "tied  up."  This 
process  is  called  "gating  the  loom." 

Tying  the  Loom 

Before  beginning  the  tying-up  process  it  is  of 
great  importance  that  the  weaver  understand  some 
simple  way  of  using  a  slipknot,  as  the  process  of 
tying  up  requires  a  great  deal  of  adjusting.  It  is 
usual  to  tie  up  with  double  cords,  as  these  always 
terminate  either  in  a  loop  or  two  ends,  both  of  which 
are  necessary  for  the  adjustable  slipknot.  The  loop 
for  the  slipknot  is  made  at  the  end  of  the  looped 
cord,  as  shown  at  A,  Fig.  37.  The  finger  and  thumb 
reach  up  and  grasp  the  double  cord  at  "A,"  Fig. 
38.  The  double  cord  is  now  drawn  through  the 
opening  marked  "B,"  as  shown  in  Fig.  39.  Through 
the  loop  thus  made  the  two  ends  of  the  cord  are 
passed,  Fig.  40.  Fig.  37,  A,  B,  C,  and  D  show  in 
the  successive  steps  the  way  the  knot  is  made. 

A  shows  simply  the  loop  and  ends. 

B  shows  the  ends  drawn  through  the  loop. 

C  shows  the  ends  drawn  through  the  loop  and 
a  single  knot  tied  with  them. 

D  shows  the  single  knot  tied  and  drawn  down 
to  the  loop. 

By  using  the  above  method  for  tying,  the  cords 
may  be  shortened  or  lengthened,  as  the  case  may  be. 


By  pulling  the  two  ends  of  the  single  knot  the  latter 
is  drawn  close  to  the  loop.  It  will  be  found  that  the 
knot  will  not  give  way  no  matter  what  the  weight  of 
the  pull  may  be.  If  the  cord  is  to  be  lengthened 
the  knot  is  loosened  and  the  cord  is  adjusted. 


Fig.  37— Method  of  Tying  Slip  Knot 


32 


Fig.  38 — First  Step  in  Making  Loop  for  Slip  Knot 


Fig.  39 — Loop  Completed 


The  harness,  which  is  made  up  of  the  heddles 
and"  heddle  sticks,  hangs  just  behind  the  beater  and 
is  suspended  by  tying  the  heddle  sticks  to  the  heddle 
horses. 


The  heddle  horses  are  tied  one  to  one  end  of 
a  piece  of  No.  16  blocking  cord  and  one  to  the  other. 
Fig.  41  is  the  drawing  of  a  heddle  horse.  The  rope 
is  thrown  over  the  roller  just  above,  allowing  one 


33 


horse  to  hang  to  one  side  and  one  to  the  other.  Two 
other  heddle  horses  are  tied  and  hung  in  the  same 
way  at  the  other  end  of  the  roller.  Fig.  20  shows 
heddle  sticks  hung  in  the  finished  loom. 

Cords  are  tied  from   the  ends  of  the  heddle 


Fig.  40 — Two  Ends  of  Cord  Placed  in  Loop 

each  lower  heddle  stick  a  loop  of  No.  16  blocking 
cord  is  tied.  The  ends  of  the  cord  extending  from 
the  treadles  slip  into  the  loop,  extending  from  the 
heddle  sticks,  as  shown  in  Fig.  42.  When  pressure 
(in  this  case  the  foot)  is  applied  to  a  treadle  the  part 


horses  to  the  top  heddle  sticks.    From  the  center  of         of  the  harness  tied  to  that  particular  treadle  draws 


Ife 


Fig.  41  -Heddle  Horses 


34 

the  threads  downward.  Upon  releasing  this  treadle 
and  applying  the  pressure  to  the  other  treadle  the 
other  half  of  the  threads  are  drawn  downward. 

The  Cloth  Beam 

The  ends  drawn  through  the  reed  are  now  hang- 
ing loosely  or  tied  in  bunches  in  the  front  of  the  reed. 
These  ends  must  in  some  way  be  connected  with  the 
cloth  beam  (Fig.  20) .  Holes  have  been  bored  through 
the  cloth  beam.  Through  these  holes  the  No.  16 
blocking  cord  is  drawn. 

Beginning  at  the  right  of  the  cloth  beam  draw 
one  end  of  the  cord  through  the  first  opening.  The 
other  end  is  tied  to  the  end  of  a  rod,  which  is  as  long 
as  the  reed. 

(These  rods  were  mentioned  earlier  in  the 
process  of  warping.  One  was  used  in  fastening  the 
warp  to  the  beam.) 

The  cord  is  now  threaded  through  the  next  hole, 
which  is  No.  2  in  the  cloth  beam,  and  then  through 
hole  No.  3. 

A  long  loop  is  left  between  No.  2  and  No.  3 
and  the  rod  is  pushed  through  it.  The  cord  is  now 
threaded  through  hole  No.  4  and  tied  to  the  other 
end  of  the  rod,  as  shown  in  Fig.  43. 

The  cord  is  cut  long  enough  to  allow  the  rod  to 
be  brought  up  and  over  the  breast  beam  up  to  the 
reed.  The  ratchet  which  connected  with  the  cloth 


Fig.  42— Method  of  Tying  Heddle  Sticks  to  Treadles 

beam  is  now  turned,  rolling  on  the  cord  until  the  rod 
is  about  8  or  10  inches  from  the  reed.  The  ends 
now  hanging  in  bunches  are  untied.  About  30 


Fig.  43 — Method  of  Preparing  Cloth  Beam 

threads  are  held  in  one  group.  The  group  is  divided, 
allowing  one-half  of  the  group  to  pass  under  the  rod 
and  the  other  to  pass  over  the  rod.  With  the  ends 
of  the  groups  tie  a  single  bow  knot  over  the  rod. 
Take  up  another  group,  divide  it,  and  tie  the  same 
way.  Continue  until  all  have  been  tied  to  the  rod, 
as  shown  in  Fig.  44. 

The  Shed 

After  the  loom  is  "tied  up"  and  the  right  treadle 
is  pressed  downward,  all  the  threads  which  pass 
through  the  eyes  of  the  heddles  on  the  front  heddle 
sticks  are  pressed  downward,  thus  causing  a  space 
between  the  threads  passing  through  the  front  heddle 
eyes  and  those  passing  through  the  back  heddle  eyes. 

This  space  comes  just  in  front  of  the  reed  when 
the  beater  is  swung  back,  as  shown  in  Fig.  45. 

This  space  is  called  the  "Shed,"  and  it  is  through 
this  opening  that  the  woof  is  passed.  The  woof  once 
in  place;  and  the  treadle  released,  the  beater  is 


35 

swung_to.  the  front,  thus  by  means  of  the  reed  the 
woof  is  pressed  in  place.  The  left  treadle  is  now 
pressed  downward,  and  the  woof  again  passes  through 
the  shed  from  the  left,  the  beater  and  reed  pressing 
it  into  place  the  same  as  in  the  first  thread. 


f 


Fig.  44  -Warp  Tied  to  Cloth  Beam 


36 


Fig.  45— The  Shed 

If  rags  or  similarly  heavy  materials  are  used, 
they  are  wound  on  what  is  called  a  shuttle  which  in 
this  case  is  simply  a  piece  of  quarter-inch  bass,  poplar, 
or  pine,  cut  as  shown  in  Fig.  45.  If  finer  materials 
such  as  mercerized  cottons  are  used,  a  shuttle 
similar  to  the  one  shown  in  Fig.  46  is  used. 

The  Small  Shuttle 

The  beginner  will,  no  doubt,  use  principally 
the  coarser  materials  for  the  woof  and  will,  there- 
fore, use  the  shuttle  as  shown  in  Fig.  46  and  Fig.  46a. 


The  shuttle  shown  in  Fig.  46a  is  so  constructed 
as  to  admit  of  a  piece  of  10  or  12-gauge  wire.  This 
wire  extends  lengthwise  across  the  inside  of  the 


nil 


Fig.  46— Small  Shuttle 


Fig.  47 — Shuttle  Stick 


37 


Fig.  46a — Working  Drawing  of  Small  Shuttle 

opening,  the  ends  being  forced  into  two  little  holes, 
one  in  each  end  of  the  opening.  In  one  of  the  holes, 
a  small  spring  is  concealed  and  the  wire  is  put  in 
place  very  much  as  a  bobbin  is  placed  into  the 
shuttle  of  a  sewing  machine.  Fig.  47  shows  a  shuttle 
stick. 

Bobbin  Winder 

Fig.  48  shows  a  bobbin  winder  extensively  used 
in  Norway  and  Sweden.  Small  wooden  spools  are 
slipped  on  to  the  shaft  of  the  winder,  or  a  piece  of 
paper  may  be  tightly  wrapped  around  the  shaft. 
The  end  of  the  thread  to  be  wound  is  caught  in  the 
wrapping  of  the  paper.  By  means  of  the  small  crank 
the  wheel  is  turned  and  the  thread  is  wound  on  the 
spool  or  paper.  The  bobbin  is  made  in  this  way. 
If  the  bobbin  winder  as  shown  above  is  not  avail- 
able, a  spinning  wheel  may  be  equipped  to  do  the 
work.  A  plug  with  an  extension  may  be  forced  into 
the  spindle,  as  shown  in  Fig.  49.  The  spool  or  the 
paper  may  be  wrapped  around  this  extension,  and 
the  wheel  may  be  turned  just  as  when  spinning. 


Fig.  48— Bobbin  Winder 


Fig.  49  -Spinning  Wheel  Used  for  Bobbin  Winder 


38 


The  Temple 


As  the  weaving  continues,  it  will  be  found  that 
there  is  a  tendency  in  the  fabric  to  "draw  in" 
narrower  than  the  entering  of  the  warp  in  the  reed. 
When  this  "drawing  in"  becomes  noticeable,  it  may 
be  corrected  by  using  the  temple. 

The  temple  is  very  simple  in  its  construction. 
Fig.  50  shows  the  working  drawing.  At  the  broad 
ends  of  each  of  the  parts,  \\"  or  16-gauge  brads 
are  driven  in  and  the  heads  are  filed  off.  For  heavier 
material,  the  brads  should  be  of  12  or  14-gauge. 


The  parts  when  joined  together  are  for  the 
purpose  of  holding  out  the  edges  of  the  material 
being  woven,  to  the  required  width.  The  means  of 
adjusting  the  length  of  the  temple  are  shown  in 
Fig.  51  and  Fig.  52.  The  parts  are  held  together 
by  a  wire  nail  or  wooden  pin,  which  is  forced  into 
the  holes  bored  thru  the  sides  of  the  parts. 

The  pin  is  first  inserted  and  the  temple  placed 
on  the  cloth  a  short  distance  from  the  reed,  with  the 
filed  points  of  the  brads  catching  the  edges  of  the 
material,  as  shown  in  Fig.  52.  When  the  temple  is 


c=> 

ij     II                                                                                        i          ) 

»"Jt> 

n  ^                                                                                                                 -4-    i      -1                          \          J     ^    !•  3        3 

^ 

O                O                0                0                0                O                O                O                O               O                O                O               O                O               O               O               O                0                                      VW 

1 

i                                                                   ;        ^ 

'                                                                                                                                                                  -----^ 

j                                                                                                                                                                                                                                  ^^.    "}°     0      9     d     5 

Fig.  50 — Working  Drawing  for  Temple 


1 

I 

Fig.  52 — Temple  Opened 


40 


Fig.  53 — Pair  of  Reels 


Fig.  55 — A  Reel  or  Swift 


41 


6-$inchPowelRodft 
placed  equally  apart 


SPOOL.  HOLDtR 
$  inch  Holes 


KEEL. 


Fig.  54  -Working  Drawing  of  Reel 


42 

pressed  down  in  this  position,  it  will  force  out  the 
edges  of  the  cloth.  The  small  metal  band  "A," 
which  fits  closely,  is  moved  along  so  it  holds  the  two 
parts  together.  After  weaving  from  four  to  six 
inches,  the  temple  is  moved  so  it  again  is  a  few 
inches  from  the  reed. 

To  move,  slip  the  metal  band  so  the  parts  may 
swing  on  the  pin  and  proceed  as  above  described. 

The  Reel 

A  great  many  of  the  different  threads  used  in 
weaving  must  be  purchased  in  skeins.  This  fact 
makes  the  reel  almost  indispensable,  in  order  that 
the  skeins  may  conveniently  be  made  into  bobbins. 

Fig.  53  shows  a  pair  of  reels,  mounted  on  a 


stand  in  such  a  manner  that  the  distance  between 
them  can  be  regulated.  Fig.  54  shows  the  working 
drawing  of  a  pair  of  reels.  It  will  be  observed  that 
the  upright  of  the  stand  has  a  slot  cut  in  it  for  the 
greater  part  of  its  length.  The  reels  revolve  on 
elongated  axles,  and  may  be  fixed  in  the  slot  at  any 
height,  by  means  of  a  screw  and  collar.  This  makes 
it  possible  to  adjust  them  to  different-sized  skeins. 

Fig.  55  shows  another  kind  of  reel  which  may 
be  fastened  to  a  table.  It  opens  like  an  umbrella 
and  may  be  adjusted  to  skeins  of  various  sizes.  The 
small  skein  allows  only  a  partial  opening  of  the  reel. 
The  skein  is  placed  over  the  reel  while  closed.  The 
reel  above  mentioned  is  often  called  a  swift. 


-      /,    J-,    3     —      /. 


,1 


CHAPTER  II 


f^Pattern 

Rag  Rugs         Zf 

In  weaving  rag  rugsTheToom  must  be  threaded 
with  a  four-ply  carpet  warp,  twelve  threads  to  the 
inch.  This  calls  for  a  number  12  reed.  Since  the 
process  of  preparing  the  loom  has  already  been 
described  in  detail,  the  weaving  may  at  once 
begin. 

Figures  56  and  57  show  what  may  be  done  with 
rags.  The  design  is  kept  in  straight  and  unbroken 
lines.  Figs.  58  and  59  show  what  may  be  done  by 
laying  straight  pieces  of  cloth  to  cover  the  color 
used  in  the  body  part.  In  this  case  the  design  is 
also  kept  in  straight,  unbroken  lines.  The  material 
used  in  the  light  colored  rugs  is  unbleached  muslin, 
while  the  colored  borders  are  of  blue  outing  flannel. 
The  dark  rug  is  of  Dutch  blue  calico  and  unbleached 
muslin. 

Introducing  Color  as  shown  in  Figures  58  and  59 

The  cloth  used  for  the  foundation  is  drawn 
through  'the  shed  and  beaten.  The  beating  presses 


Weaving 

the  strip  of  cloth  together.  Without  crossing  the 
threads,  draw  in  the  short  pieces  to  be  used  for  the 
design  and  wrap  them  around  the  color  used  for  the 
foundation.  To  make  this  as  easy  as  possible  the 
foundation  strip  just  beaten  may  again  be  pushed 
out  into  the  shed  so  that  it  may  easily  be  wrapped 
with  the  color  used  in  the  design. 

After  the  colored  strips  have  been  wrapped 
around  the  foundation  color,  the  beater  is  drawn 
forward  and  presses  the  foundation  color  with  the 
strip  in  the  design  into  place. 

This  process  is  a  most  interesting  way  of  in- 
troducing color  when  the  coarser  materials  are 
used. 

Before  beginning  to  design  for  loom  work,  it  is 
better  to  operate  the  loom  and  know  just  a  little  of 
its  possibilities.  When  this  plan  is  pursued  the 
designs  made  are  usable,  as  the  operator  knows  what 
is  possible  and  will  design  accordingly. 


43 


44 


58!! 


Figs.  56,  57,  58,  59 — Woven  Rag  Rugs 
P/ai'ds 

Figure  60  shows  a  series  of  simple  yet  effective 
plaids  which  may  be  woven  on  a  two-harness  loom. 
In  reeling  the  warp  for  plaids,  a  certain  number  of 
threads  of  each  color  are  reeled  according  to  the 


desired  plaid.  When  the  reeling  is  completed  and 
the  warp  is  placed  on  the  warp  beam,  it  will  be 
found  that  the  warp  is  in  bands  of  color. 

In  weaving  the  finished  cloth  the  same  colors 
as  were  used  in  the  warp  are  now  used  in  the  woof. 
If  ten  threads  of  a  certain  color  were  used  in  the  warp 
then  the  same  number  of  threads  of  the  same  color 
must  be  used  in  the  woof.  It  is  in  that  way  that  the 
plaids  are  made. 

Pattern  Weaving 

To  the  casual  observer  of  hand-woven  articles, 
nothing  seems  quite  so  impossible  as  many  of  the 
complicated  patterns  woven  on  the  ordinary  foot- 
power  loom.  To  those  who  have  done  weaving,  the 
pattern  work  does  not  seem  so  wonderful.  It  is 
surprising  how  quickly  the  amateur  weaver  grasps 
the  idea  of  pattern  weaving. 

The  plan  here  is  to  present  the  pattern  weaving 
in  the  simplest  possible  way. 

In  all  that  has  gone  before,  nothing  but  plain 
weaving  has  been  suggested;  in  other  words,  only 
two  sets  of  heddles  have  been  used  and  only  two 
treadles. 

To  do  pattern  weaving,  it  will  be  necessary  to 
use  four  sets  of  heddles  and  four  treadles.  In  Fig. 
20  may  be  seen  the  four  sets  of  heddle  sticks  just  be- 


flf  v 

•''^^ff**       .         ^^  ^^T 

I  •  i 


45 

hind  the  beater.  Heddles  are  placed  on  each  pair 
of  the  sticks.  They  are  hung  for  threading  just  as 
the  two  sets  are  hung  in  Fig.  32. 

The  warp  is  reeled  and  placed  on  the  warp  beam 
just  the  same  for  pattern  weaving  as  for  plain  weav- 
ing. Let  the  pattern  shown  in  Fig.  61  be  the  one 
for  consideration.  This  pattern  is  known  as  the 
Monk's  Belt.  The  name,  no  doubt,  comes  from  its 
use  in  weaving  the  belts  used  by  the  early  monks. 

Let  the  material  to  be  used  be  a  four-ply  white 
or  gray  carpet  warp  just  the  same  as  was  used  in 
the  rug  weaving.  In  the  rug  work  only  twelve 
threads  to  the  inch  were  used.  For  this  pattern 
twenty  threads  to  the  inch  will  be  used. 

If  the  article  to  be  woven  is  to  be  about  22  inches 
wide  and  there  are  to  be  20  threads  to  the  inch,  it 
will  require  456  threads  to  be  reeled,  including  24 
threads  for  the  selvages.  If  four  threads  are  reeled 
at  a  time,  it  will  require  114  groups  of  four  threads 
to  make  the  required  number.  The  length  depends 
upon  the  weaver. 

Having  placed  the  heddles  on  the  heddlc  sticks 
and  the  war])  on  the  beam,  the  worker  is  ready  to  do 
the  threading.  Seated  as  shown  in  Fig.  32,  with  the 
pattern  as  shown  in  Fig.  61  at  hand,  the  work  of 
threading  is  begun. 


Fig.  60 — Plaids 


46 


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i 

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s. 

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9 

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f 

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i. 

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s 

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-7. 

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• 

Fig.  61 — Monk's  Belt.     Draft  of  Pattern 


It  must  be  remembered  that  the  sets  of  heddles 
are  numbered  from  the  front  to  the  back.  That  is, 
the  heddle  sticks  just  in  front  of  the  worker  is  number 
1,  the  next  number  2,  the  next  number  3,  and  the 
farthest  number  4.  The  row  of  squares  in  the  pat- 
tern marked  No.  1  indicates  that  all  the  threads 
in  this  row  must  be  threaded  in  their  order  thru 
the  heddles  on  heddle  sticks  No.  1.  The  squares 
in  the  pattern  in  row  No.  2  indicate  that  these 
threads  are  threaded  in  their  order  thru  the  heddles 
on  the  second  pair  of  heddle  sticks.  Three  and 
four  follow  in  the  same  manner. 

Beginning  to  Thread 

Beginning  at  the  right  of  the  pattern,  the  first 
thread  of  the  selvage  is  indicated  by  a  dark  square 
in  the  fourth  row.  This  means  that  the  first  thread 
passes  through  the  eye  of  the  first  heddle  on  the  back 
or  fourth  row  of  heddles.  This  heddle  threaded,  it  is 
pushed  along  and  the  next  thread  is  taken  care  of. 
The  next  thread  is  on  the  second  row  and  is  passed 
through  the  eye  of  the  first  heddle  on  the  second  pair 


of  heddle  sticks.  This  heddle  is  now  pushed  along 
and  the  third  thread  is  cared  for.  The  third  thread 
passes  through  the  first  heddle  on  the  third  pair 
of  heddle  sticks  and  is  pushed  along.  The  fourth 
thread  passes  through  the  eye  of  the  first  heddle 
on  the  first  pair  of  heddle  sticks  and  is  pushed  along. 
The  fifth  thread  passes  through  the  eye  of  the  second 
heddle  on  the  fourth  row.  This  is  continued  until 
the  part  of  the  pattern  marked  selvage  is  completed. 
The  selvage  is  threaded  but  once,  at  the  beginning 
and  at  the  end,  unless  otherwise  indicated. 

The  threading  of  the  real  pattern  begins  after 
the  selvage  has  been  threaded.  Upon  investigation 
it  will  be  found  that  36  threads  make  one  repeat  of 
the  pattern,  Fig.  61.  If  there  are  456  threads  in  all 
and  24  are  used  for  the  two  selvages,  432  threads 
remain.  If  it  requires  36  threads  to  thread  the  pat- 
tern once,  432  threads  will  repeat  the  pattern 
twelve  times. 

The  first  thread  of  the  pattern  appears  on  the 
fourth  or  back  row  of  heddles;  the  second  thread 


r 

A-KJilnU. 


3-4. 


a  us 


47 


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tik's  Belt.    Another  Way  of  Drafting  Pattern 


ph  thread 
When 
bed  once. 
1st  thread 
[this  way 
this   is 
for   the 
Je  selvage 

ssing  the 
bral  other 

lie  given 
md  make 

the  sub- 
It  terns  are 


!!!•(•!  I       111 


the 

heddles  in   the  order  indicated  by  the  pattern  are 
now  ready  to  be  drawn   through  the  dents  of  the 
i 


reed.  A  No.  20  reed  is  hung  as  shown  in  Fig.  34. 
With  a  reed  hook,  as  shown  in  Fig.  35,  the  threads 
are  drawn  through  the  reed  in  their  regular  order 
as  before  described. 

To  make  the  selvage,  two  threads  of  the  sel- 
vage are  drawn  through  each  of  the  first  six  dents. 
This  uses  the  twelve  threads  of  the  selvage  as  shown 
in  the  pattern. 

If  the  number  20  reed  is  used  each  thread  of 
the  pattern  passes  through  a  dent  until  the  selvage 
is  again  reached,  when  two  threads  pass  through 
each  dent. 

If  a  No.  20  reed  cannot  be  had,  a  No.  10  reed 
may  be  used  by  placing  four  threads  of  the  selvage 
through  each  dent  of  the  selvage  and  two  threads 
of  the  pattern  through  each  of  the  pattern  dents. 

Very  often  the  reed  has  many  more  dents  than 
is  required  for  the  number  of  threads  used  in  a 
particular  pattern.  In  such  case  care  must  !>;•  taken 
to  draw  the  threads  through  such  dents  as  will 
bring  the  weaving  in  the  center  of  the  reed.  For 


46 


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Fig.  61 — Monk's  Belt.     Draft  of  Pattern 


It  must  be  remembered  that  the  sets  of  heddles 
are  numbered  from  the  front  to  the  back.  That  is, 
the  heddle  sticks  just  in  front  of  the  worker  is  number 
1,  the  next  number  2,  the  next  number  3,  and  the 
farthest  number  4.  The  row  of  squares  in  the  pat- 
tern marked  No.  1  indicates  that  all  the  threads 
in  this  row  must  be  threaded  in  their  order  thru 
the  heddles  on  heddle  sticks  No.  1.  The  squares 
in  the  pattern  in  row  No.  2  indicate  that  these 
threads  are  threaded  in  their  order  thru  the  heddles 
on  the  second  pair  of  heddle  sticks.  Three  and 
four  follow  in  the  same  manner. 

Beginning  to  Thread 

Beginning  at  the  right  of  the  pattern,  the  first 
thread  of  the  selvage  is  indicated  by  a  dark  square 
in  the  fourth  row.  This  means  that  the  first  thread 
passes  through  the  eye  of  the  first  heddle  on  the  back 
or  fourth  row  of  heddles.  This  heddle  threaded,  it  is 
pushed  along  and  the  next  thread  is  taken  care  of. 
The  next  thread  is  on  the  second  row  and  is  passed 
through  the  eye  of  the  first  heddle  on  the  second  pair 


/-A  ,    / 

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of  heddle  sticks.     This 
and  the  third  thread  is  ; 
passes  through  the  fi> 
of  heddle  sticks  and 
thread  passes  througl 
on  the  first  pair  of  hed 
The  fifth  thread  passe; 
heddle  on  the  fourth 
the  part  of  the  patterr. 
The  selvage  is  thread 
and  at  the  end,  unles. ' 

The  threading  oi 
the  selvage  has  been  I 
it  will  be  found  that  y 
the  pattern,  Fig.  61. 
and  24  are  used  for  f 
remain.    If  it  require^ 
tern    once,    432    thrfli 
twelve  times. 

The  first  thread  of  the  pattern  appears  on  the 
fourth  or  back  row  of  heddles;  the  second  thread 


47 


4 

4 

4 

4 

4 

4 

4 

4 

4 

4 

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Fig.  62 — Monk's  Belt.    Another  Way  of  Drafting  Pattern 


is  on  the  third  row,  etc.  Continue  until  each  thread 
indicated  by  the  dark  squares  is  threaded.  When 
this  is  done,  the  pattern  has  been  repeated  once. 
(!o  back  to  the  beginning,  which  is  the  first  thread 
on  the  fourth  row  after  the  selvage.  In  this  way 
tin  cad  the  pattern  twelve  times.  When  this  is 
done,  there  are  still  twelve  threads  left  for  the 
selvage,  which  is  threaded  the  same  as  the  selvage 
;it  the  right  or  beginning. 

Kit;-.  (\2  shows  another  way  of  expressing  the 
pattern  shown  in  Fig.  61.  There  are  several  other 
ways  of  writing  patterns,  all  of  which  will  be  given 
in  order  that  the  weaver  may  understand  and  make 
use  of  patt'Tiis  found  in  various  books  on  the  sub- 
ject. 

Fig.  61,  however,  shows  the  way  patterns  are 
written  in  textile  schools. 

Threading  the  Reed 

The  threads  having  been   drawn  through  the 

heddles  in  the  order  indicated  by   the  pattern  are 

now  ready  to  be  drawn  through  the  dents  of  the 
•i 


reed.  A  No.  20  reed  is  hung  as  shown  in  Fig.  34. 
With  a  reed  hook,  as  shown  in  Fig.  35,  the  threads 
are  drawn  through  the  reed  in  their  regular  order 
as  before  described. 

To  make  the  selvage,  two  threads  of  the  sel- 
vage are  drawn  through  each  of  the  first  six  dents. 
This  uses  the  twelve  threads  of  the  selvage  as  shown 
in  the  pattern. 

If  the  number  20  reed  is  used  each  thread  of 
the  pattern  passes  through  a  dent  until  the  selvage 
is  again  reached,  when  two  threads  pass  through 
each  dent. 

If  a  No.  20  reed  cannot  be  had,  a  No.  10  reed 
may  be  used  by  placing  four  threads  of  the  selvage 
through  each  dent  of  the  selvage  and  two  threads 
of  the  pattern  through  each  of  the  pattern  dents. 

Very  often  the  reed  has  many  more  dents  than 
is  required  for  the  number  of  threads  used  in  a 
particular  pattern.  In  such  case  care  must  be  taken 
to  draw  the  threads  through  such  dents  as  will 
bring  the  weaving  in  the  center  of  the  reed.  For 


'TO  te 


48 

example,  if  the  finished  work  is  to  be  22  inches  wide 
and  the  reed  through  which  the  threads  are  drawn 
is  28  inches  long,  it  is  of  the  greatest  importance 
that  the  first  thread  is  drawn  through  the  dent 
three  inches  from  the  right  end  of  the  reed.  After 
all  the  threads  have  been  drawn  thru  the  dents, 
three  inches  are  left  at  the  left  end  of  the  reed. 
The  ends  now  are  tied  to  the  rod  which  leads  to  the 
cloth  beam,  the  same  as  in  Fig.  36. 

Tying  the  Heddle  Sticks 

Fig.  20  shows  the  position  of  the  heddle  horses. 
Two  heddle  horses  are  tied  together  with  a  piece  of 
No.  16  blocking  cord.  The  cord  is  thrown  over  the 
roller  or  the  pulley  above,  leaving  one  heddle  horse 
at  one  side  and  one  at  the  other,  as  shown  in  Fig.  20. 

The  upper  heddle  sticks  are  tied  to  the  scroll- 
like  ends  of  the  heddle  horses,  one  to  each.  To  do 
this  take  four  heddles  the  same  as  were  used  on  the 
heddle  sticks.  These  are  looped  all  at  one  time  over 
one  end  of  the  first  heddle  stick.  This  is  done  by 
placing  one  loop  at  the  end  of  the  heddle  to  one  side 
of  the  heddle  stick,  as  shown  at  A,  Fig.  63.  The 
other  ends  of  the  heddles  are  placed  through  this  loop 
and  are  drawn  tightly  over  the  heddle  stick.  With 
the  thumb  and  finger,  make  a  loop  in  the  other  end 
of  the  heddles  similar  to  the  loop  in  Figs.  38  and  39. 
Slip  this  loop  over  the  scroll-like  end  of  the  heddle 


horse  as  shown  at  B,  Fig.  63.-  Take  four  other 
heddles  and  loop  one  end  over  the  second  heddle 
stick  far  enough  from  the  end  so  that  it  is  directly 
under  the  other  scroll-like  end  of  the  same  heddle 
horse,  as  shown  at  C,  Fig.  63. 

With  the  finger  and  thumb,  make  a  loop  in 
the  other  end  of  the  heddles  and  slip  this  loop  over 
the  other  end  of  the  heddle  horse,  as  shown  at  D, 
Fig.  63.  Heddle  sticks  1  and  2  are  now  tied  to  the 
one  heddle  horse;  see  Fig.  63.  Take  four  other 
heddles  and  loop  them  over  the  third  heddle  stick 
the  same  distance  from  the  end  as  the  first  was 
looped  at  E,  Fig.  64.  Loop  the  other  ends  of  the 
heddles  over  the  scroll-like  end  of  the  second  heddle 
horse,  as  shown  at  F,  Fig.  64.  The  fourth  heddle 
stick  is  tied  in  the  same  way  and  the  same  distance 
from  the  end  as  the  second  one,  as  shown  at  G  and 
H,  Fig.  64.  This  finishes  the  tying  at  one  end. 
Tie  heddle  sticks  at  the  other  end  to  the  heddle 
horses  in  the  same  way.  Heddles  are  used  to  tie 
the  heddle  sticks  to  the  heddle  horses  because  they 
are  all  exactly  the  same  length.  This  is  of  great 
importance. 

Tying  Heddle  Sticks  to  Treadles 

To  keep  the  heddle  sticks  even  and  all  together, 
tie  them  together  at  each  upper  end.  From  the 
center  of  each  lower  heddle  stick,  tie  a  loop  of  No. 
16  blocking  cord  as  shown  at  A,  Fig.  37. 


49 


.  From  each  treadle  allow  two  ends  of  No.  16 
blocking  cord  to  extend  upward.  Beginning  at  the 
right,  tie  the  first  treadle  to  the  first  lower  heddle 
stick;  the  second  treadle  to  the  second  heddle  stick. 
In  the  same  way  tie  3  and  4.  This  numbers  the 
treadles  from  right  to  left  1,  2,  3,  4.  The  loom  is 
now  ready  for  work. 

Weaving  the  Pattern 

Before  beginning  to  weave  the  pattern,  experi- 
ment  by  pressing  down  certain  treadles.  Press  down 
treadles  1  and  2  at  the  same  time.  Press  down  3 
and  4.  Press  down  1  and  3  by  placing  one  foot  on 
1  and  the  other  on  3.  Press  down  2  and  4.  It  will 
be  found  that  1  and  2,  when  pressed  down,  make 
one  part  of  the  pattern,  as  shown  at  A,  Fig.  65. 

By  pressing  down  treadles  3  and  4,  the  part 
of  the  pattern  shown  at  B,  Fig.  65,  is  made. 

These  two  changes  are  all  that  are  found  in 
Fig.  65.  C,  Fig.  65,  is  the  same  as  A,  only  there  are 
fewer  threads  used  in  weaving  C.  D,  Fig.  65,  is 
the  same  as  B;  and  E,  Fig.  65,  is  the  same  as  A. 

It  was  found  that  when  treadles  1  and  3  were 
pressed  down  exactly  one-half  of  the  threads  were 
drawn  down.  When  2  and  4  wore  pressed  down  the 
other  half  of  the  threads  were  drawn  down. 

Any  amount  of  plain  weaving  may  be  done  by 
pressing  down  alternately  1  and  3  at  the  same  time, 
and  2  arid  4  at  the  same  time.  This  being  true, 


it  is  possible  to  place  pattern  borders  with  as  much 
plain  weaving  in  between  as  is  desired. 


Fig.  63 
Tying  the  Heddle  Sticks 


Fig.  64 


50 

When  doing  pattern  weaving  the  thread  used 
in  the  pattern  should  be  at  least  as  heavy  as  the 
warp. 

For  every  pattern  thread  that  is  placed  in  the 
weaving  there  must  be  what  is  called  a  binding 
thread  or  binder.  The  binding  threads  are  always 
put  in  while  the  feet  press  down  treadles  1  and  3, 
and  2  and  4.  It  will  be  remembered  that  it  is  these 
two  sets  of  treadles  that  make  the  plain  or  tabby 
weave. 

Let  us  suppose  that  everything  is  ready  to  begin 
the  actual  weaving.  Treadles  1  and  3  are  pressed 
down  at  the  same  time  and  the  shuttle  is  passed 
from  the  right  through  the  shed  to  the  left. 

Treadles  2  and  4  are  next  pressed  down  and  the 
shuttle  is  passed  through  the  shed  from  the  left  to 
the  right.  In  this  way  as  much  plain  weaving  may 
be  done  as  is  desired. 

If  a  table  runner  is  to  be  made,  about  five  inches 


Fig.  65 — Pattern  Woven 


of  plain  weaving  in  the  beginning  are  sufficient  be- 
fore introducing  the  pattern. 

To  Make  the  Border  as  Shown  in  Fig.  65 

When  weaving  a  pattern  there  must  always 
be  a  binder  woven  in  every  time  a  pattern  thread 
is  woven.  It  is  this  binder  that  holds  the  pattern 
thread  in  place.  It  is  always  well  to  have  the 
binder  of  finer  thread  than  that  used  in  the  plain 
weave,  or  than  that  used  in  the  pattern,  as  the  pat- 
tern threads  may  be  more  closely  beaten  together. 

The  shuttle  containing  the  thread  to  be  used 
for  the  binder  is  now  at  the  right. 

Treadles  1  and  2  are  pressed  down  at  the  same 
time  and  a  pattern  thread  passed  through  the  shed. 
WThen  this  is  beaten  in  place,  treadles  1  and  3  are 
pressed  down  and  a  binder  thread  is  passed  through 
the  shed.  Treadles  1  and  2  are  again  pressed  down 
and  a  pattern  thread  passed  through  the  shed. 
Treadles  2  and  4  are  now  pressed  down  and  a  binder 
passes  through  the  shed.  Press  1  and  2  again  for 
the  pattern  thread  and  1  and  3  for  the  binder. 
Press  1  and  2  again,  and  2  and  4  for  the  binder. 

The  weaver  has,  no  doubt,  discovered  by  this 
time  that  the  pattern  thread  may  enter  the  shed 
from  either  the  right  or  left  while  care  must  be  taken 
to  enter  the  binder  from  the  side  it  should  be  entered 
in  order  to  make  the  plain  weave.  With  the  amateur 
it  might  be  well  to  give  the  following  direction  con- 


(•(•ruing  the  weaving  in  of  the  binder:  When  the 
first  and  third  treadles  are  pressed  down  the  binder 
must  always  enter  from  the  right,  and  when  the 
second  and  fourth  treadles  are  pressed  down  the 
binder  enters  from  the  left.  The  beginner  when 
returning  to  the  work  often  finds  it  difficult  to  know 
which  treadles  to  press  down  for  the  first  binder 
thread.  This  may  be  decided  by  the  position  of 
the  shuttle.  If  the  thread  from  the  shuttle  is  to 
the  right  then  treadles  1  and  3  are  pressed  down  for 
the  binder.  If  the  thread  is  at  the  left  then  2  and  4 
are  pressed  down.  In  other  words,  when  the  right 
foot  presses  down  one  of  the  outside  treadles  the 
shuttle  must  enter  the  shed  from  the  right  side  and 
when  the  left  foot  presses  down  an  outside  treadle 
the  shuttle  enters  the  shed  from  the  left  side.  This 
will  aid  the  beginner  in  keeping  track  of  the  bind- 
ing thread. 

Second  Change  in  Pattern 

The  second  change  in  the  pattern  is  shown  at  B, 
Fig.  65.  To  weave  in  the  pattern  threads  for  this 
change,  treadles  3  and  4  are  pressed  down  each  time. 
Three  and  four  are  pressed  down  and  the  shuttle 
containing  the  pattern  thread  is  thrown  through 
the  shed. 

The  shuttle  containing  the  binder  is  at  the 
right,  therefore  treadles  1  and  3  are  pressed  down. 
The  shuttle  at  the  right  means  that  the  right  foot 


51 

pressed  down  the  right  treadle.  If  it  had  been  at 
the  left,  then  2  and  4  would  have  been  pressed  down, 
the  left  foot  pressing  down  the  left  treadle  which  is 
the  outside  treadle  to  the  left. 

C,  Fig.  65,  is  the  same  as  A;  and  D  is  the  same 
as  B.  E  is  the  same  as  A. 

Checked  Paper 

After  the  pupils  have  worked  out  the  design 
shown  in  Fig.  65,  pass  to  them  checked  paper  and 
have  them  work  out  as  many  different  combinations 
taken  from  Fig.  65  as  possible. 

When  this  is  done  the  different  combinations 
may  be  woven  on  the  loom. 

Fig.  66  and  Fig.  67  show  a  few  such  combina- 
tions. 

Adaptations 

There  is  very  little  value  in  asking  pupils  to 
design  in  textiles  if  they  know  nothing  about  the 
real  working  of  a  loom.  At  first  thought  one  is  very 
likely  to  look  upon  loom  weaving  as  a  very  mechan- 
ical line  of  work  because  of  the  fact  that  the  loom  is 
threaded  for  a  certain  pattern.  This  work  may  be 
made  so  if  the  teachers  cannot  see  beyond  the  one 
little  pattern  for  which  the  loom  is  threaded.  If, 
however,  the  instructor  will  use  the  checked  paper 
freely  and  have  the  pupils  make  as  many  different 
combinations  of  the  changes  shown  in  Fig.  65  as 
possible,  a  great  deal  of  good  may  be  derived  from 


52 


m  m    e  1 g    mm 

B     W  I  i  m     8 

•JOB  mm 


the  standpoint  of  design  and  color.  Attention  has 
already  been  called  to  the  combinations  shown  in 
Figs.  66  and  67.  These  interesting  borders  may  be 
woven  into  table-runner  borders,  bags  of  various 
kinds,  pillow  tops,  curtains,  etc. 

In  Fig.  68  is  shown  a  bag  for  fancy  work.  The 
material  for  the  plain  part  is  of  Ecru  Jap  Six  No.  20. 
Twenty  threads  to  the  inch  were  used,  two  threads 
passing  through  each  dent.  The  border  is  of  a  No. 
5  mercerized  cotton. 

Fig.  69  shows  a  knitting  bag  in  which  the 
Monk's  Belt  threading  is  used.  This  bag  was  woven 
on  the  same  loom  as  was  the  fancy  work  bag.  The 
change  in  design  is  due  to  a  change  in  colors  and 
the  order  of  treadling  for  the  stripes.  The  Jap 
silk  is  the  same. 

When  one  begins  really  to  work,  the  possi- 
bilities begin  to  dawn. 

Fig.  70  shows  a  pair  of  curtains  woven  of 
Egyptian  twine.  A  number  20  reed  is  used,  one 
thread  passing  through  each  dent.  A  No.  3  mer- 
cerized cotton  is  used  for  the  border,  which  is  another 
adaptation  of  the  Monk's  Belt.  The  binder  is 
Egyptian  twine. 

Numerous  all-over  designs  may  be  produced  by 
using  the  threading  draft  shown  in  Fig.  61. 


• 


''  I'  fc  teW  ' '  b" '  t&fa'Y'lT  IM 

P  F  rrr. .    r.    .  /Tr.r.  r.rrr. 


HW44M4 


tt  K  §     Ml  HI     I  I  fi     rts    " 


Fig.  66     Borders 


Fig.  67 — Borders 


53 


Fig.  68 — Fancy  Work  Bag 
The  Rose  Path 

Figure  71  shows  the  threading  for  the  pattern 
called  the  Rose  Path.     It  is  one  of  the  most  inter- 


esting of  all  the  simple  threadings  and  may  be 
worked  out  by  beginners  in  a  great  variety  of  ways 
and  colors. 

When  threading  any  pattern  always  begin  at  / 
the  right  and  work  toward  the  left. 


Fig.  69 — Knitting  Bag 


54 

Threading  for  the  Rose  Path 

Thread  first  the  selvage.  There  are  but  eight 
threads  in  a  single  repeat  of  the  pattern.  The  ma- 
terial to  be  woven  is  20  inches  wide  plus  the  width 
of  the  selvages. 

If  there  are  to  be  20  threads  to  the  inch,  it  will 
require  400  threads  plus  sixteen  threads  for  the 
selvages,  making  in  all  416  threads. 

If  four  threads  are  reeled  at  a  time,  it  will  be 
necessary  to  reel  104  groups. 

Since  400  threads  are  used  for  the  pattern  and 
there  are  eight  threads  to  each  repeat,  the  pattern 
may  be  repeated  50  times. 

The  selvage  is  threaded  the  same  for  the  Rose 
Path  as  was  threaded  for  the  Monk's  Belt. 

The  first  thread  of  the  pattern  is  drawn  through 
the  eye  of  the  first  heddle  on  the  back  row. 

The  second  thread  goes  through  the  eye  of  the 
first  heddle  on  the  third  heddle  sticks. 

The  third  thread  passes  through  the  eye  of 
the  first  heddle  on  the  second  heddle  sticks. 

The  fourth  thread  passes  through  the  eye  of 
the  first  heddle  on  the  first  heddle  sticks.  From  here 
the  threading  runs  back  to  the  fourth  heddle  sticks. 

The  eighth  thread  of  the  pattern  passes  through 
the  eye  of  the  second  heddle  on  the  first  heddle 
sticks.  This  finishes  one  repeat.  All  the  other  re- 
peats are  simply  a  repetition  of  the  first. 


Fig.  70 — A  Pair  of  Woven  Curtains 


55 


Fig.  72     Borders 


The  left  selvage  is  the  same  as  the  right. 

If  a  number  20  reed  is  used,  two  threads  of  the 
selvage  are  drawn  through  each  of  the  first  six 
dents  and  then  one  thread  through  each  dent  until 
the  left  selvage  is  reached,  when  two  are  again 
drawn  through  each  of  four  dents. 

If  a  number  10  reed  is  used  four  threads  of  the 
selvage  are  drawn  through  a  dent  at  a  time  and  then 
two  threads  through  each  dent  until  the  left  selvage 
is  reached. 

se.lv; 


Fig.  71 — Rose  Path.     Draft  of  Pattern 

The  upper  heddle  sticks  are  tied  to  the  heddle 
horses  the  same  as  for  the  Monk's  Belt. 

The  lower  heddle  sticks  are  also  tied  to  the 
treadles  the  same  as  in  the  Monk's  Belt. 

Weaving  the  Pattern 

It  must  be  remembered  that  the  treadles  are 
always  numbered  from  right  to  left.  By  pressing 
down  treadles  1  and  3,  one-half  the  threads  are 
drawn  down.  Treadles  2  and  4  are  drawn  down  the 
other  half. 

With  the  shuttles  containing  both  the  pattern 
thread  and  the  binder  at  the  right,  press  down 


Fig.  73     Borders 


56 


1  and  2 

2  and  4  Binder 
2  and  3 

1  and  3  Binder 


Fig.  74 — Tie-up,  Using  Lambs 


treadles  1  and  2  and  pass  the  pattern  thread  through 
the  shed. 

Press  down  treadles  1  and  3  and  through  the 
shed  pass  the  binder.  Press  1  and  2  down  again 
and  through  the  shed  pass  the  pattern  thread. 

Press  down  2  and  4  and  pass  the  binder  through 
the  shed. 

To  press  down  the  treadles  in  the  following  order : 
1  and  2  2  and  3  1  and  4 

1  and  3  Binder    2  and  4  Binder     1  and  3  Binder 
3  and  4  1  and  4 

1  and  3  Binder    2  and  4  Binder 
3  and  4 

2  and  4  Binder 

When  the  above  has  been  completed  all  the 
changes  possible  in  this  threading  are  shown. 

On  ruled  paper  have  the  pupils  make  as  many 
combinations  of  the  above  changes  as  possible. 

Figures  72  and  73  show  a  few  of  the  combina- 
tions woven  into  borders. 

The  Rose  Path  is  full  of  interesting  combina- 
tions which  may  be  used  in  borders  for  curtains, 
bags,  table  runners  and  pillow  tops. 

Finer  Threads  Used  for  Warp 

It  is  not  necessary  to  confine  the  warp  used  to 
the  ordinary  four-ply  carpet  warp.  It  must  be  re- 
membered, however,  that  the  finer  the  warp  the  more 
threads  there  must  be  to  the  inch. 


I 


<JfMi  <j»xxxxx<  ojxjj*7' 

'"  *5vr  ••  i       >^P 


Fig.  75 — Curtain  Border.     Adaptation  from  Rose  Path 


57 

For  extra  fine  work  the  mercerized  cotton  may 
be  used.  This  is  obtainable  in  various  sizes.  Num- 
bers 3  and  5  are  most  commonly  used.  Jap  silk 
No.  20  makes  a  very  good  warp  for  finer  articles. 
Glo  silk  is  also  good.  To  the  one  interested  there 
is  an  unlimited  variety  to  be  had. 

The  Lambs 

In  the  pattern  weaving  up  to  this  time  the 
loom  has  been  tied  up  in  such  a  way  that  it  has  been 
necessary  to  use  both  feet  in  pressing  down  the 
treadles  to  bring  about  the  desired  changes  in  the 
pattern. 

Fig.  74  shows  the  drawing  of  such  parts  of  the 
loom  as  are  concerned  in  pattern  making.  At  A, 
Fig.  74,  are  shown  the  heddle  sticks  without  the 
heddles. 

At  B  are  shown  the  lambs.  The  lambs  are  new 
and  no  reference  up  to  this  time  has  been  made  to 
them.  C,  Fig.  74,  illustrates  six  treadles  instead  of 
four  as  shown  and  described  in  previous  drawings. 

The  working  drawing  of  the  loom  will  show  the 
lambs  held  in  place  at  one  end  by  brackets  screwed 
to  the  inner  right  side  of  the  loom  at  B,  Figs.  74 
and  20.  By  the  use  of  the  lambs,  the  loom  may 
be  so  tied  up  that  one  foot  will  press  down  the  de- 
sired number  of  heddle  sticks  at  one  time. 

The  tying  of  the  upper  heddle  sticks  to  the 


58 

heddle  horses  is  the  same  as  shown  at  A  and  as 
previously  described. 

On  examination  of  B  it  will  be  found  that  in- 
stead of  the  treadles  being  tied  directly  to  the  lower 
heddle  sticks,  it  is  the  lambs  which  are  tied,  one  to 
each  lower  heddle  stick. 

This  tying  of  the  lambs  is  done  exactly  the  same 
as  if  the  treadle  were  being  tied. 

B,  Fig.  74,  shows  holes  bored  in  the  lambs. 

When  the  lambs  are  tied  to  the  lower  heddle 
sticks,  attention  will  be  given  to  the  treadles.  There 
are  six  treadles  in  all. 

The  two  center  treadles  are  used  in  drawing 
down  the  heddles  that  will  do  the  plain  weaving. 
The  other  four,  two  at  each  side  of  the  center,  are 
used  to  make  the  pattern.  These  are  numbered 
from  right  to  left,  1,  2.  Skip  the  two  center  ones  and 
number  the  last  two,  3  and  4. 

If  the  first  change  in  the  pattern  indicates  that 
heddle  sticks  1  and  4  are  to  be  drawn  down,  then 


the  lambs  1  and  4  are  tied  to  the  first  treadle,  as 
shown  in  Fig.  68.  When  treadle  No.  1  is  pressed 
down,  it  draws  down  lambs  1  and  4.  Since  lambs 

1  and  4  are  tied  to  the  lower  heddle  sticks  1  and  4, 
the  pressure  must  draw  down  the  heddles. 

If  the  next  change  in  the  pattern  indicates  that 
heddles  2  and  3  are  to  be  drawn  down,  then  lambs 

2  and  3  are  tied  to  treadle  No.  2  as  above  described. 

This  is  continued  until  all  treadles  have  been 
tied  to  draw  down  the  right  heddles.  The  heddles 
doing  the  plain  weaving  are  tied  to  the  two  center 
treadles.  The  knot  used  in  the  tying  has  been  fully 
described  in  Figs.  37,  38,  39  and  40. 

Fig.  75  shows  an  adaptation  of  the  Rose  Path 
to  a  border  which  may  be  used  in  curtains.  A  num- 
ber 9  reed  is  used;  one  thread  to  each  dent.  The 
woof  and  warp  are  of  the  same  material.  Care  is 
taken  not  to  beat  the  woof  too  hard.  This  ma- 
terial resembles  a  coarse  scrim.  A  number  3  mer- 
cerized cotton  is  used  in  the  border  and  a  2-ply 
thread  is  used  for  the  binder. 


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CHAPTER  III 
Colonial  Patterns 


/-*       A 

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_ 


Reading  a  Draft 

"Draft"  is  the  term  usually  applied  to  a  thread- 
ing as  shown  in  Figs.  76  and  77.  This,  when  proper- 
ly followed,  produces  the  pattern  as  shown  in  Figs. 
78  and  79.  Fig.  78  shows  the  upper  or  right  side 
and  79  shows  the  under  side  of  the  finished  weaving. 
"The  Big  Diamond"  is  the  particular  name  of  this 
pattern. 

The  following  is  a  detailed  description  of  the 
pattern : 

First:  In  threading  a  pattern  always  begin  to 
read  at  the  right.  When  the  first  part  is  finished 
begin  at  the  right  of  the  second,  etc. 

Second:  The  pattern  begins  with  the  first 
thread  after  the  right  selvage  and  ends  with  the  last 
thread  just  before  the  left  selvage. 

Third:  Find  the  number  of  threads  to  make 
one  repeat.  All  threads  within  a  brace  are  to  be 
repeated  the  number  of  times  indicated.  For  ex- 
ample, 4X  means  to  repeat  the  threading  four 
times.  The  actual  number  of  threads  in  this  pat- 
tern is  168.  If  a  number  20  reed  is  used  this  pat- 


59 


58 

heddle  horses  is  the  same  as  shown  at  A  and  as 
previously  described. 

On  examination  of  B  it  will  be  found  that  in- 
stead of  the  treadles  being  tied  directly  to  the  lower 
heddle  sticks,  it  is  the  lambs  which  are  tied,  one  to 
each  lower  heddle  stick. 

This  tying  of  the  lambs  is  done  exactly  the  same 
as  if  the  treadle  were  being  tied. 

B,  Fig.  74,  shows  holes  bored  in  the  lambs. 

When  the  lambs  are  tied  to  the  lower  heddle 
sticks,  attention  will  be  given  to  the  treadles.  There 
are  six  treadles  in  all. 

The  two  center  treadles  are  used  in  drawing 
down  the  heddles  that  will  do  the  plain  weaving. 
The  other  four,  two  at  each  side  of  the  center,  are 
used  to  make  the  pattern.  These  are  numbered 
from  right  to  left,  1,2.  Skip  the  two  center  ones  and 
number  the  last  two,  3  and  4. 

If  the  first  change  in  the  pattern  indicates  that 
heddle  sticks  1  and  4  are  to  be  drawn  down,  then 


the  lambs  1  and  4  are  tied  to  the  first  treadle,  as 
shown  in  Fig.  68.  When  treadle  No.  1  is  pressed 
down,  it  draws  down  lambs  1  and  4.  Since  lambs 

1  and  4  are  tied  to  the 
the  pressure  must  draw  dj 

If  the  next  change  in 
heddles  2  and  3  are  to  bel 

2  and  3  are  tied  to  treadle  ', 

This  is  continued 
tied  to  draw  down  the 
doing  the  plain  weaving 
treadles.    The  knot  used 
described  in  Figs.  37,  38, 

Fig.  75  shows  an  ada;' 
to  a  border  which  may  be 
ber  9  reed  is  used;  one  tl 
woof  and  warp  are  of  thf 
taken  not  to  beat  the 
terial  resembles  a  coarse 
cerized  cotton  is  used  in 
thread  is  used  for  the  bine 


CHAPTER  III 
Colonial  Patterns 


Many  of  the  patterns  used  by  amateur  weavers 
of  today  are  simply  the  old  Colonial  patterns  which 
Inive  been  handed  down  from  one  generation  to 

another. 

It  is  difficult  to  know  just  where  they  first 
originated.  The  names  often  suggest  the  country 
from  which  the  original  pattern  might  have  come. 
Such  names  as  the  Olive  Leaf  and  Bonaparte's 
March  may  have  come  from  France;  the  Queen's 
Delight  and  the  Governor's  Garden  may  have  come 
from  England;  while  the  Whig  Rose  may  have 
originated  in  our  own  country  as  late  as  the  time 
when  the  Whig  Party  sprung  into  existence.  One 
of  the  interesting  features  of  this  work,  to  the 
amateur  weaver  of  today,  is  not  to  accept  the  pat- 
terns just  as  they  have  been  handed  down,  but  to 
make  such  changes  as  will  enable  the  finished  pro- 
ducts to  find  an  appropriate  place  in  the  house 
furnishings  of  today. 

The  patterns  which  follow  are  given  as  they  were 
originally  woven,  together  with  such  changes  as 
make  them  desirable  at  this  time. 


Reading  a  Draft 

"Draft"  is  the  term  usually  applied  to  a  thread- 
ing as  shown  in  Figs.  76  and  77.  This,  when  proper- 
ly followed,  produces  the  pattern  as  shown  in  Figs. 
78  and  79.  Fig.  78  shows  the  upper  or  right  side 
and  79  shows  the  under  side  of  the  finished  weaving. 
"The  Big  Diamond"  is  the  particular  name  of  this 
pattern. 

The  following  is  a  detailed  description  of  the 
pattern : 

First:  In  threading  a  pattern  always  begin  to 
read  at  the  right.  When  the  first  part  is  finished 
begin  at  the  right  of  the  second,  etc. 

Second:  The  pattern  begins  with  the  first 
thread  after  the  right  selvage  and  ends  with  the  last 
thread  just  before  the  left  selvage. 

Third:  Find  the  number  of  threads  to  make 
one  repeat.  All  threads  within  a  brace  are  to  be 
repeated  the  number  of  times  indicated.  For  ex- 
ample, 4X  means  to  repeat  the  threading  four 
times.  The  actual  number  of  threads  in  this  pat- 
tern is  1(58.  If  a  number  20  reed  is  used  this  pat- 


59 


Fig.  76 — The  Big  Diamond.     Draft 

tern  may  be  threaded  two  full  times  and  up  to  the 
place  marked  by  the  arrow  the  third  time.  Direct- 
ly following  this  the  selvage  is  threaded. 

The  number  of  threads  to  produce  the  piece 
of  cloth  is  as  follows : 

Two  times  168  threads,  plus  108  threads 
(up  to  arrow),  plus  32  threads  for  selvage,  making 
in  all  476  threads.  The  use  of  a  four-ply  carpet  warp 
and  a  No.  10  reed  and  two  threads  to  the  dent  makes 
a  table  runner  about  24  inches  wide  while  in  the 
loom. 


of  Pattern  with  Each  Group  Marked 


After  the  warp  has  been  reeled  and  placed  on 
the  beam,  the  threading  may  begin. 

Fourth:  Threading — The  selvage  is  threaded 
as  before  described.  The  2X  indicates  that  the 
threads  within  the  brace  are  to  be  threaded  twice. 

Beginning  with  the  real  pattern  the  first  thread 
passes  through  the  eye  of  a  heddle  on  the  third 
heddle  sticks.  The  second  thread  passes  through 
the  eye  of  a  heddle  on  the  second  heddle  sticks. 

The  draft  shows  that  this  combination  is  re- 
peated four  times;  this  is  indicated  by  the  brackets 


Fig.  77 — The  Big  Diamond.     Draft  of  Pattern 


61 


»!!'»          !:«!":! 


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!{!!!"-     ":•••::!! 
•!!::•• "      :  !!!! 

., 


mini     ~  ~  "  IIUMI 

iiuui  mini 

"     mini  "  "  '  '  mini  '  '            , 

'  ~  mini     ~  '  '  mini  ~  "      "     , 

" 


ini 

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,  A      A.A      AiA 

' 


i     ni     i 


drawn  around  this  group.  The  next  group  is  made 
up  of  the  combination  of  3  and  1,  indicated  by 
brackets. 

The  next  threads  run  in  the  combination  of  4 
and  1,  and  the  next  4  and  2,  as  indicated  by  brackets. 
The  threading  is  continued  until  the  left  selvage  is 
reached,  the  brackets  indicating  the  grouping. 
From  this  place  the  threading  begins  at  the  be- 
ginning of  the  pattern  and  is  repeated  a  second  time 
straight  through  to  the  left  selvage;  care  must  be 
taken  to  thread  the  threads  within  the  brace  the 
number  of  times  indicated.  The  second  time  com- 
pleted, the  pattern  is  threaded  a  third  time  up  to  the 
threads  marked  by  the  arrow.  The  left  selvage 
threaded  now  completes  the  threading  of  the  entire 
warp. 

The  draft  is  usually  written  as  shown  in  Fig.  77. 

Fifth:  The  threading  completed,  the  threads 
are  drawn  through  the  reed,  two  to  each  dent.  Care 
must  be  taken  to  draw  the  threads  through  the 
dents  so  the  threading  is  in  the  middle  of  the  reed. 
This  has  been  explained  previously. 

The  Tie- Up 

The  upper  heddle  sticks  are  tied  to  the  heddle 
horses  as  before  described. 

The  lower  heddle  sticks  are  tied,  one  to  each 
of  the  lambs  instead  of  directly  to  the  treadles. 


>i.»l<1^-il«.i< ;/£.*< 

ft  ^TMff^Jf^ff 

\\  \\ 
V  V 


i«Si 


Fig.  78— Right  Side  of  Finished  Weaving 


Fig.  79   -Under  Side  of  Finished  Weaving 


62 

The  treadles  are  tied  to  the  lambs  in  the  order 
indicated  by  the  draft. 

The  first  combination  in  the  threading  is  2  and 
3,  therefore  lambs  2  and  3  are  tied  to  the  first 
treadle.  The  next  combination  is  1  and  3,  then  1 
and  3  are  tied  to  the  second  treadle. 

The  third  change  in  the  pattern  is  1  and  4. 
It  is  tied  to  the  fifth  treadle  which  is  next  to  the 
last,  skipping  the  two  center  ones. 

The  fourth  combination  is  4  and  2  which  is 
tied  to  the  last  treadle. 

The  plain  weaving  for  this  pattern  is  done  by 
pressing  down  heddle  sticks  1  and  2  at  one  time, 
and  3  and  4  the  next.  This  means  that  lambs  1 
and  2  are  tied  to  the  right  middle  treadle,  and  3 
and  4  are  tied  to  the  left  middle  treadle. 

Weaving  the  Pattern 

Before  beginning  the  real  pattern  about  one- 
half  inch  of  plain  weaving  is  done.  This  is  done  by 
pressing  down  first  one  and  then  the  other  of  the 
two  middle  treadles. 

With  the  shuttle  at  the  right,  press  down  the 
first  treadle  which  draws  down  heddle  sticks  2  and  3. 
Through  the  shed  pass  the  first  pattern  thread. 

For  the  binder  press  down  the  middle  treadle 
to  the  right.  For  the  second  pattern  thread  press 
down  the  first  treadle  again.  The  thread  for  the 


plain  weaving  is  at  the  left,  so  the  left  treadle  is 
pressed  down  and  the  binder  is  sent  from  the  left 
to  the  right. 

For  the  third  pattern  thread  press  down  the 
first  treadle  again.  The  binder  is  now  at  the  right, 
so  the  right  middle  treadle  is  pressed  down.  This 
is  continued  until  the  first  treadle  is  pressed  down 
as  many  times  as  there  are  threads  indicated  in  the 
first  combination.  In  this  case  there  are  eight,  and 
the  binder  is  used  after  each  pattern  thread.  If 
eight  times  makes  too  large  a  color  spot,  press  down 
the  first  treadle  only  six  or  even  four  times.  The 
weaver  must  be  the  judge. 

The  second  change  in  the  pattern  is  1  and  3 
in  the  threading,  therefore  the  second  treadle  which 
draws  down  1  and  3  is  pressed  down  4,  6  or  8  times, 
just  as  the  weaver  desires. 

The  third  change  is  1  and  4,  so  the  fourth  or 
next  to  the  last  treadle  is  pressed  down  4,  6  or  8 
times.  The  fourth  change  is  2  and  4,  so  the  last 
treadle  is  pressed  down  4,  6  or  8  times. 

It  will  be  observed  that  the  threads  all  come  in 
combinations.  Sometimes  the  combination  con- 
sists of  only  two  threads.  When  this  is  true  then 
only  two  pattern  threads  are  run  across. 

The  draft  shown  at  Fig.  77  tells  all  that  must 
be  known  about  a  pattern  to  produce  the  finished 
piece  of  cloth. 


63 


It  must  be  remembered  that  the  pattern  may 
be  woven  by  using  only  four  treadles,  one  tied  to 
each  heddle  stick  as  described  in  the  Monk's  Belt 
and  the  Rose  Path. 

In  case  each  heddle  stick  is  tied  to  a  treadle, 
the  pattern  is  produced  by  pressing  down  treadles 
2  and  3  as  many  times  as  desired.  Then  1  and  3 
as  main'  times  as  desired,  1  and  4  and  then  2  and  4. 

The  plain  weaving  is  done  by  pressing  down 
treadles  1  and  2  at  one  time,  and  treadles  3  and  4 
at  another. 

The  patterns  which  follow  will  be  described 
in  as  brief  a  way  as  possible,  because  all  tying  and 
treadling  are  read  in  the  draft  as  above  described. 

Fig.  80  shows  the  original  draft  for  the  Double 
Snowball,  and  Fig.  81  shows  the  woven  pattern 


when  the  draft  shown  in  Fig.  80  is  followed, 
requires  396  ends  for  one  repeat  of  the  pattern. 


It 


Where  to  Begin 

Owing  to  the  width  of  looms  it  is  necessary  to 
weave  counterpanes  and  couch  covers  in  two  strips, 
to  be  sewed  together.  In  all  drafts  care  is  taken  to 
begin  the  threading  so  two  edges  may  be  sewed  to- 
gether to  make  one  complete  pattern,  just  the  same 
as  figured  carpets  are  woven  and  sewed. 

The  tie-up:  Each  lower  heddle  stick  is  tied  to 
a  lamb. 

The  lambs  are  tied  as  follows: 
1  and  4  to  the  first  treadle. 

1  and  3  to  the  second  treadle. 

2  and  3  to  the  third  treadle. 
2  and  4  to  the  fourth  treadle. 


Fig.  80— The  Double  Snowball.     Draft  of  Pattern 


64 

The  plain  weave  is  done  by  tying  lambs : 

1  and  2  to  the  right  middle  treadle, 

3  and  4  to  the  left  middle  treadle. 

Figure  83  shows  an  adaptation  of  the  Double 
Snowball.  It  is  not  difficult  to  find  the  part  of  the 
pattern  used  in  the  original  pattern.  This  par- 
ticular part  when  used  alone  as  in  Fig.  82  is  often 
called  the  Dogwood  Blossom. 

Figure  82  shows  the  draft  for  the  adaptation 
and  is  read  as  follows: 

First:  704  threads  required  for  the  entire 
pattern. 

Second:  Each  lower  heddle  stick  is  tied  to  a 
lamb. 

Third:    The  lambs  are  tied  as  follows: 

1  and  4  to  the  first  treadle. 

1  and  3  to  the  second  treadle. 

2  and  3  to  the  third  treadle. 
2  and  4  to  the  fourth  treadle. 


Fig.  81 — Finished  Weaving  Using  Double  Snowball  Pattern 

The  plain  weave  is  done  by  tying  lambs : 
1  and  2  to  the  right  middle  treadle. 
3  and  4  to  the  left  middle  treadle. 


Fig.  82 — Adaptation  from  the  Double  Snowball.     Draft  of  Pattern 


65 


The  material  is  a  two-ply  unbleached 
cotton  warp. 

Use  a  No.  15  reed,  placing  two 
threads  to  a  dent. 

The  material  used  in  the  pattern 
may  be  a  colored  four-ply  carpet  warp 
or  a  No.  3  mercerized  cotton.  The  two- 
ply  carpet  warp  may  be  used  for  the 
binder  or  a  fine  mercerized  thread  may 
be  used. 

When  weaving  the  pattern,  the  part 
within  the  brace  is  woven  as  many  times 
as  is  indicated  by  the  figure.  For  exam- 
ple, the  brace  marked  7X  means  all 
within  the  brace  is  woven  seven  times 
before  proceeding  with  the  remainder  of 
the  pattern. 

Figure  81  shows  the  original  pattern, 
while  Figs.  83  and  84  show  a  table  runner 
taken  from  Fig.  81. 

This  pattern  is  often  used  for  pillow 
tops.  In  such  a  case  a  square  is  woven. 

Fig.  85  shows  a  draft  taken  from 
what  is  known  as  Block  Work,  the  orig- 
inal of  which  is  shown  in  Fig.  86.  This 
design,  as  well  as  many  of  the  old  Colonial 
patterns,  is  full  of  suggestions  for  pillow 
t  ops,  table  runners  and  even  count  erpanes. 


pri 

SsWJ^WwwwW 


Fig.  83— Right  Side  of  Table  Runner 


Fig.  84— Under  Side  of  Table  Runner 


66 


2X  6X 

Fig.  85 — The  Block  Work.     Draft  of  Pattern 


Fig.  86— Finished  Weaving  of  Block  Work 


Figure  87  shows  a  pillow  top  taken  from  Fig.  86. 

There  will  be  no  difficulty  in  locating  Fig.  87 
in  Fig.  86. 

Figure  88  shows  a  table  runner  taken  from  Fig.  86. 

Figure  88  was  woven  on  the  same  loom,  with  the 
same  threading  as  the  pillow  top  shown  in  Fig.  87. 

Reading  of  the  Draft,  Fig.  76 

No.  10  reed,  two  threads  to  a  dent. 
456  threads  four-ply  carpet  warp  required. 
Each  lower  heddle  stick  is  tied  to  a  lamb. 
The  lambs  are  tied  as  follows: 

1  and  4  to  the  first  treadle. 

3  and  4  to  the  second  treadle. 

2  and  3  to  the  third  treadle. 

1  and  2  to  the  fourth  treadle. 
For  plain  weave  tie: 

1  and  3  to  the  right  middle  treadle. 

2  and  4  to  the  left  middle  treadle. 


67 

Observe  that  the  last  thread  of  the  right  sel- 
vage is  omitted  in  the  second  threading.  This  is 
done  to  avoid  two  threads  coming  together  on  the 
same  heddle  stick. 

Chariot  Wheel 

Figure  89  shows  a  draft  taken  from  what  is 
known  as  the  Chariot  Wheel  pattern. 

Figure  90  shows  a  pillow  top  woven  on  a  loom 
threaded  with  Fig.  89. 

Figure  91  shows  the  under  side  of  Fig.  90. 

Very  often  the  under  side  of  the  weaving  is 
more  attractive  than  the  upper  which  is  the  right 
side.  The  design  of  the  under  side  is  usually  more 
broken,  thus  making  it  many  times  more  desirable 
from  an  art  standpoint. 


•,'.*,•  *•  ••  •  •  ••  ••  -•  ••  ••  •«  •;•; 

WMMMVVMV1,' 
II  '!'•».••'•!••••?-••    ffl 


Fig.  88— Table  Runner  Woven  from  Block  Work 


Fig.  87  -Finished  Pillow  Top 


68 


2X 


Fig.  89— The  Chariot  Wheel.     Draft  of  Pattern 


When  making  a  pillow,  let  one  side  of  the  pillow 
show  the  right  side  and  the  other  the  under  side  of 
the  weaving. 

Figure  92  shows  a  counterpane,  using  the  draft 
shown  in  Fig.  89. 


Fig.  90 — Pillow  Top  Woven  from  Chariot  Wheel  Pattern 


Reading  the  Draft,  Fig.  89 

Material:     A  two-ply  unbleached  carpet  warp. 

Number  15  reed,  placing  two  threads  to  a  dent. 

Woof:  Any  color  of  wool,  four-ply  carpet  warp 
or  No.  3  mercerized  cotton;  672  threads  required  to 
complete  the  threading.  4-  ^ 

The  lower  heddle  sticks  are  tied  one  to  each 
lamb. 

The  lambs  are  tied  as  follows : 

1  and  3  to  the  first  treadle. 

2  and  3  to  the  second  treadle. 

2  and  4  to  the  third  treadle. 
1  and  4  to  the  fourth  treadle. 
For  the  plain  weave: 

1  and  2  tie  to  the  right  middle  treadle. 

3  and  4  tie  to  the  left  middle  treadle. 

When  threading  the  draft  as  shown  in  Fig.  80, 
thread  the  right  selvage  first  and  then  the  border, 


69 


Fig.  91— Under  Side  of  Pillow 

repeating  the  threads  within  the  brace  the  number 
of  times  indicated.  The  real  pattern  begins  just 
after  the  right  border.  This  part  of  the  draft  is 
threaded  four  times  before  threading  the  left  border 
and  the  left  selvage. 

Figure  93  shows  a  pair  of  curtains,  the  border 
of  which  is  an  adaptation  of  the  "Chariot  Wheel." 

To  the  one  truly  interested  there  is  no  limita- 
tion of  adaptations.  Whole  bedroom  sets  may  be 
woven,  carrying  the  "Chariot  Wheel"  into  the 


Fig.  92— Counterpane  Woven  from  Chariot  Wheel  Pattern 


70 


Fig.  93 — Curtain  Woven  with  Border  from  Chariot  Wheel 


various  borders.  Such  a  set  includes  the  counter- 
pane, curtains,  dressing  table  mat,  valence  and  even 
the  rug  for  the  floor,  which  may  be  woven  of  coarse 
materials,  carrying  out  the  unity  of  design. 

This  particular  pair  of  curtains  is  woven  of 
Egyptian  twine.  The  border  is  of  two  shades  of 
blue  No.  3  mercerized  cotton. 

The  loom  was  threaded  30  ends  to  the  inch. 
A  number  15  reed  was  used,  drawing  two  threads 
through  each  dent.  This  does  not  give  the  scrim 
weave  as  shown  in  the  curtains,  Figs.  70  and  75, 
but  more  of  a  marquisette  weave,  which  is  very 
pleasing. 

When  weaving  the  border  use  only  the  treadles 
which  will  raise  and  lower  the  sets  of  thread  that 
will  produce  the  one  row  of  wheels.  It  is  well,  how- 
ever, to  weave  in  a  narrow  stripe  below  and  above 
the  principal  border  stripe,  which  in  this  case  is 
the  row  of  wheels.  If  the  narrow  bands  are  to  be 
used  across  the  top  great  care  must  be  exercised  to 
get  the  separate  bands  exactly  the  same  distance 
from  the  top  and  at  the  same  time  make  the  borders 
at  the  bottom  come  together.  If  the  bands  across 
the  top  are  omitted  the  weaving  of  curtains  is  great- 
ly simplified.  It  is  not  necessary  to  be  limited  by 
materials,  as  almost  'any  threads  may  be  woven 
into  most  attractive  fabrics. 


71 


In  weaving  curtains  it  is  always  well  to  make  a 
liberal  allowance  for  shrinkage.  Almost  all  ma- 
terials whether  of  wool,  cotton  or  linen  will  shrink. 

The  Orange  Peel 

Attention  has  not  been  called  to  the  fact  that 
in  many  cases  the  original  woven  pattern  appears 
without  the  draft  for  the  same.  Fig.  94  shows  the 
original  pattern  of  the  Orange  Peel,  while  Fig.  95 
shows  the  draft  for  Fig.  96  and  Fig.  97.  Should  a 
counterpane  of  this  pattern  be  desired  the  thread- 
ing is  done  the  same  as  shown  in  Fig.  95,  omitting 
the  left  border  each  time.  The  number  of  times  the 
pattern  is  repeated  depends  upon  the  width  of  the 
loom  and  also  the  width  of  the  couch  cover  or 
counterpane  desired.  It  must  be  remembered  that 
the  strips  are  sewed  together  and  must  be  made  to 
match. 

The  weaver  will  have  gained  by  this  time  suf- 
ficient experience  to  make  the  changes  to  meet  the 
demands.  Originality  is  one  of  the  chief  aims  of 
the  work. 

The  draft  reads  as  follows: 

Material:     Two-ply  unbleached  carpet  warp. 

Reed  number  15,  placing  two  threads  to  a  dent. 

The  material  used  in  the  pattern  (the  woof) 
may  be  any  of  the  three  following  materials: 

\Yool,  four-ply  carpet  warp,  or  No.  3  mer- 
cerized cotton. 


Fig.  94 — Original  Pattern  from  Orange  Peel 

Use  a  finer  thread  for  the  binder. 
606  threads  for  the  complete  pattern. 
Each  lower  heddle  stick  is  tied  to  a  lamb. 
The  lambs  are  tied  as  follows: 
2  and  4  to  the  first  treadle. 

2  and  3  to  the  second  treadle. 
1  and  3  to  the  third  treadle. 

1  and  4  to  the  fourth  treadle. 

For  the  plain  weave  tie: 

1  and  2  to  the  right  middle  treadle. 

3  and  4  to  the  left  middle  treadle. 


72 


.Border     5elva$e 


1 


I 


Selvage       Bor-der- 


6X 
E>eg inning  of  "Pattern 


ex  6x 

omit  this  thread 
first  repeat  of  bonder1 

Fig.  95 — The  Orange  Peel.     Draft  of  Pattern 


before 
/ast  border 


This  pattern  has  a  few  irregularities.  First 
the  selvage  is  threaded  and  then  the  right  border. 
The  pattern  is  then  threaded  five  times  from  one 
arrow  to  the  other.  After  the  fifth  threading  the 
threads  within  the  brace  marked  "thread  once 
before  last  border"  are  taken  care  of.  After  this  the 
last  border  is  threaded,  omitting  the  first  thread  in 
the  first  repeat  of  the  border.  This  is  done  to  avoid 
two  threads  coming  together  on  the  first  heddle 
stick.  The  threading  of  the  left  border  completes 
the  pattern. 

It  will  be  observed  that  the  right  and  left  edges 
are  not  the  same,  only  half  the  pattern  showing  on 
the  right  edge  and  almost  a  complete  pattern  on 
the  left  edge. 

Figure  96  shows  the  "Orange  Peel"  worked  out 


in  a  sofa  pillow  top.     The  draft  shown  at  Fig.  95 
will  make  this  pillow  top. 

Figure  97  shows  the  under  side  of  Fig.  96. 

Governor's   Garden 

Figure  98  gives  the  draft  for  a  pillow  top  or 
table  runner  taken  from  the  "Governor's  Garden" 
shown  in  Fig.  99. 

It  is  difficult  to  recognize  Figs.  97  and  98  as 
having  been  taken  from  Fig.  99. 

It  is  quite  wonderful  what  even  the  amateur 
weaver  will  be  able  to  do  after  a  somewhat  limited 
experience  in  actual  work  with  the  loom. 

Any  draft  is  full  of  suggestions  for  borders, 
curtains,  table  runners,  complete  couch  covers, 
pillow  tops,  counterpanes,  etc. 


Fig.  96 —Pillow  Top  Woven  from  Orange  Peel 

The  "Governor's  Garden"  is  the  longest  of  the 
drafts  and  is  threaded  just  as  given  in  Fig.  98. 

The  draft  reads  as  follows: 

Materials:    Two-ply  unbleached  carpet  warp. 

Reed:  Number  15,  placing  two  threads  to  a 
dent. 


73 

The  material  in  the  pattern  (woof)  may  be  any 
of  the  materials  before  mentioned. 

Use  716  threads  for  the  complete  pattern.  Each 
lower  heddle  stick  is  tied  to  a  lamb. 

The  lambs  are  tied  as  follows: 

1  and  4  to  the  first  treadle. 

1  and  2  to  the  second  treadle. 


Fig.  97 —Under  Side  of  Pillow  shown  in  Fig.  96 


74 


Selvage 


i 


2X 


Fig.  98 — The  "Governor's  Garden."     Draft  of  Pattern 


2  and  3  to  the  third  treadle. 

3  and  4  to  the  fourth  treadle. 
For  the  plain  weave  tie: 

1  and  3  to  the  right  middle  treadle. 

2  and  4  to  the  left  middle  treadle. 

Figure  100  shows  the  right  side  of  the  finished 
weaving,  while  Fig.  101  shows  the  under  side. 

The  border  on  the  front  and  back  edges  of  any 
weaving  is  always  taken  care  of  by  weaving  the  re- 
peat of  the  border  as  many  times  as  is  suggested  in 
the  draft. 

Bonaparte's  March 

Figure  103  shows  the  woven  sample  of  Bona- 


Fig.  99 — Original  Pattern  of  Governor's  Garden 


Fig.  100 — Pillow  Top  Woven  from  Governor's  Garden 

parte's  March.  It  was  woven  by  following  the 
draft  shown  at  Fig.  102.  In  weaving  the  old-time 
counterpanes  it  was  necessary  to  weave  them  in 
two  strips  because  of  the  width  of  the  looms  at  that 


75 

time.  In  order  that  the  two  strips  might  be  sewed 
together,  the  pattern  was  begun  in  the  center  of 
some  particular  figure  found  in  the  pattern. 

Only  four  threads  were  used  in  the  selvage 
along  the  left  edge.  The  border  was  usually  placed 
on  the  right  edge. 


m 


nun 


Fig.  101    -Under  Side  of  Pillow  shown  in  Fig.  100 


76 


Selvaoe 


•  MR 


7x 

Fig.  102 — Bonaparte's  March.     Draft  of  Pattern 


7x 


irilllllll  H.IMIMIIIMI^Ifllllll. 


,'L'L"J"""C';  >~win 


II'IM  'r  't1  i'  'HiiMiCiijOnniM  ji_ii_"iHini!_r_i>J  JrJi_ri 
r"irii"i   i'  i   niniiriO1.11""1  -'V'  •""""-"-'   '  .'  -''J. 

'  " 


itJMijiimi 

iiji'ifiiiiiii 


"JIJU'i'i" 
iijOO'i'i" 


Fig.  103 — Original  Pattern  of  Bonaparte's  March 


Borders 

Borders  are  made  by  repeating  certain  sets  of 
threads  a  number  of  times.  Any  one  at  all  familiar 
with  pattern  weaving  can  readily  understand  the 
making  of  borders. 

Figure  104  shows  a  draft  taken  from  draft  102. 
It  is  that  part  of  the  draft  that  will  make  an  inter- 
esting pillow  top. 

Figure  102  reads  as  follows: 

Count  the  number  of  threads  in  the  pattern. 

Each  lower  heddle  stick  is  tied  to  a  lamb. 

The  lambs  are  tied  as  follows: 

1  and  4  to  the  first  treadle. 


fl-SS 


u^y  u  y d 


tiU 


•Jt, 


ex 


Tx 

Fig.  104 — Draft  of  Pattern  for  Pillow  Top.     Adaptation  of  Bonaparte's  March 


77 


^Border     5elvgge 


I 


Fig.  105 — The  Snail's  Trail  and  Cat's  Paw.     Draft  of  Pattern 


Fig.  106— Original  Pattern,  Snail's  Trail  and  Cat's  Paw 

2  and  3  to  the  second  treadle. 
1  and  3  to  the  third  treadle. 
It  will  be  observed  that  only  three  treadles  are 
necessary  to  weave  the  pattern. 


The  plain  weave  is  done  by  tying  lambs: 

1  and  2  to  the  right  middle  treadle. 

3  and  4  to  the  left  middle  treadle. 

The  material  may  be  any  of  the  material  be- 
fore mentioned. 

Figure  104  may  be  read  and  the  treadles  tied 
the  same  as  described  in  Fig.  102. 

Snail's  Trail 

Figure  105  shows  the  draft  for  the  pattern 
shown  in  Fig.  106.  This  pattern  is  often  called 
the  "Snail's  Trail"  and  "Cat's  Paw." 

Each  lower  heddle  stick  is  tied  to  a  lamb. 

The  lambs  are  tied  as  follows : 

1  and  4  to  the  first  treadle. 

2  and  4  to  the  second  treadle. 

2  and  3  to  the  third  treadle.  , 

1  and  3  to  the  fourth  treadle. 

The  plain  weave  is  done  by  tying  lambs: 


78 


Fig.  107 — The  Blooming  Flower.     Draft  of  Pattern 


Fig.  108 — Original  Pattern,  Blooming  Flower 

1  and  2  to  the  right  middle  treadle. 
3  and  4  to  the  left  middle  treadle. 
Press  the  treadles  in  the  order  indicated  by  the 
draft  and  as  before  described. 

The  Blooming  Flower 

"The  Blooming  Flower"  is  a  pattern  often  used 
for  counterpanes.     Fig.   107  shows  the  draft  while 


Fig.  108  shows  the  pattern  woven  by  following  the 
draft,  Fig.  107.  Only  four  threads  are  suggested 
in  the  selvage.  This  will  permit  of  the  sewing  to- 
gether of  the  two  strips. 

The  material  is  usually  a  two-ply  carpet  warp 
for  the  warp  and  wool  for  the  woof.  Each  lower 
heddle  stick  is  tied  to  a  lamb. 

For  the  pattern  the  lambs  are  tied  as  follows: 

1  and  4  to  the  first  treadle. 

1  and  3  to  the  second  treadle. 

2  and  3  to  the  third  treadle. 
2  and  4  to  the  fourth  treadle. 

The  plain  weaving  is  done  by  tying  lambs : 

1  and  2  to  the  right  middle  treadle. 

2  and  4  to  the  left  middle  treadle. 

Pine  Knot 

Figure  109  shows  the  draft  for  "The  Pine  Knot" 
and  Fig.  110  shows  the  woven  sample.  This  pat- 
tern lends  itself  to  several  interesting  combinations. 

If  the  weaver  has  read  what  has  gone  before 


79 


•mm 


•-• 


•Tfi-4. 


Fig.  109 — Pine  Knot.     Draft  of  Pattern 


-  -  -  -  .  - 


Fig.  110— Original  Pattern,  Pine  Knot 


there  will  be  no  difficulty  by  this  time  to  select  such 
parts  of  the  pattern  as  are  desired. 

The  draft  reads  as  follows: 

Tie  each  lower  heddle  stick  to  a  lamb.  The 
lambs  are  tied  as  follows: 

2  and  3  to  the  first  treadle. 

2  and  4  to  the  second  treadle. 
1  and  4  to  the  third  treadle. 

1  and  3  to  the  fourth  treadle. 

The  plain  weave  is  done  by  tying  lambs: 

1  and  2  to  the  right  middle  treadle. 

3  and  4  to  the  left  middle  treadle. 

It  must  not  be  forgotten  that  the  lambs  are  not 
absolutely  necessary.  Each  treadle  may  be  tied 

SELVAGE 


Fig.  1 1 1— Federal  Knot.     Draft  of  Pattern 


80 

directly  to  the  lower  heddle  stick.  In  such  a  case 
only  four  treadles  are  used  but' two  are  pressed  down 
each  time  a  thread  is  passed  through  the  shed. 
This  has  already  been  described. 

Federal  Knot 

Fig.  Ill  shows  the  draft  for  the  "Federal  Knot" 
and  Fig.  112  shows  the  woven  sample.  This  pat- 
tern, the  same  as  those  previously  described,  is  full 
of  suggestions. 

The  material  before  mentioned  may  again  be 
used  in  this  pattern. 

The  draft  reads  as  follows: 


Fig.  112     Original  Pattern.  Federal  Knot 


Tie  each  lower  heddle  stick  to  a  lamb. 
The  lambs  are  tied  as  follows : 
1  and  4  to  the  first  treadle. 
3  and  4  to  the  second  treadle. 

1  and  2  to  the  third  treadle. 

2  and  3  to  the  fourth  treadle. 

The  plain  weave  is  done  by  tying  lambs: 

1  and  3  to  the  right  middle  treadle. 

2  and  4  to  the  left  middle  treadle. 

Wheel  of  Fortune 

Figure  113  shows  the  draft  for  what  is  known  as 
the  "Wheel  of  Fortune,"  sometimes  called  the 
"Wheel  of  Time." 

The  draft  reads  as  follows:  Material  2,  3,  or 
4-ply  unbleached  carpet  warp  for  the  warp. 

The  material  used  in  the  pattern  t^the  woof) 
may  be  any  one  of  the  materials  already  mentioned. 

For  2-ply  carpet  warp  use  a  No.  15  reed,  for  J 
ply  use  a  No.  12  reed,  for  4-ply  use  a  No.  10  reed. 

It  requires  262  threads  for  one  repeat  of  the 
pattern.  The  selvage  requires  eight  threads;  and 
the  border  for  a  counterpane,  100  threads.  If  a 
pillow  top  is  to  be  made  the  border  should  be  made 
narrower  and  on  both  edges.  The  pattern  begins 
at  the  first  arrow  just  after  the  selvage  and  ends  at 
the  other  arrow  just  before  the  border. 

Tie-up:  Each  lower  heddle  stick  is  tied  to  a 
lamb. 


81 


Selva 


i 


Border- 


lOx 

Fig.  113— Wheel  of  Fortune. 


Draft  of  Pattern 


Fig.  1 14  —Wheel  of  Fortune.     Original  Pattern. 


The  laml» 

2  and  4  to 
2  and  3  to 


arc  tied  as  follows: 
the  first  treadle, 
the  second  treadle. 


1  and  3  to  the  third  treadle. 

1  and  4  to  the  fourth  treadle. 

For  the  plain  weave  tie: 

1  and  2  to  the  right  middle  treadle. 

3  and  4  to  the  left  middle  treadle. 

The  weaver  must  always  remember  that  a 
great  deal  of  judgment  must  he  exeivis-d  \\  hen  doing 
the  weaving. 

Four  treadles  may  he  used,  one  tied  to  each 
lower  treadle  stick.  In  such  a  case  two  treadles 
inii.-l  he  pressed  down  at  the  same  time.  Almost 
any  kind  of  material  may  !>••  adapted  to  I  lie  work. 
When  the  material  is  coarse  there  mu>(  he  fewer 
threads  to  the  inch. 

Figure   114  shows  the  finished  weaving. 


i 


Fig.  115 — The  Irish  Chain.     Draft  of  Pattern 


Fig.  116— Irish  Chain.     Original  Pattern. 
Irish  Chain 

The  "Irish  Chain,"  sometimes  called  the  "Nine 
Wheels,"  and  sometimes  the  "Nine  Snow  Balls," 
is  shown  in  Fig.  116. 


The  draft  for  the  "Irish  Chain"  is  shown  in 
Fig.  115. 

The  draft  reads  as  follows: 

Material:  Two-ply  unbleached  warp.  The  ma- 
terial used  in  the  pattern  (woof)  may  be  any  one  of 
the  materials  already  mentioned. 

Number  15  reed,  placing  two  threads  to  a  dent, 
288  threads  required  to  complete  one  repeat  of  the 
pattern. 

The  Tie-Up 

The  lower  heddle  sticks  are  tied  one  to  each 
lamb. 

The  lambs  are  tied  as  follows: 
2  and  3  to  the  first  treadle. 
2  and  4  to  the  second  treadle. 
1  and  4  to  the  third  treadle. 
1  and  3  to  the  fourth  treadle. 
For  the  plain  weave: 

1  and  2  to  the  right  middle  treadle. 

2  and  4  to  the  left  middle  treadle. 


Fig.  117 — Draft  of  Pattern.     Rings  and  Chains 


Fig.  118— Rings  and  Chains,  Original  Pattern 

Figure  118  shows  the  original  pattern  woven 
by  following  the  draft  shown  in  Fig.  117,  without 
the  border.  A  counterpane  or  couch  cover  is  not 
quite  complete  if  left  without  a  border.  Fig.  119 
shows  a  counterpane  with  border.  Fig.  117  shows 
the  complete  draft  for  the  same. 


The  same  draft  may  be  used  for  a  pillow  top  or 
table  runner  by  threading  the  border  fewer  times 
and  repeating  it  and  the  selvage  along  the  left  side. 

The  amateur  weaver  has  no  doubt  discovered 
by  this  time  that  any  border  consists  only  of  a  cer- 
tain number  of  threads  of  each  combination  re- 
peated a  number  of  times,  the  number  of  repeats 
depending  entirely  upon  the  width  of  the  border 
desired. 

The  front  border  is  always  produced  by  follow- 
ing the  draft  shown  within  the  brace  marked  "bor- 
der," repeating  the  weaving  as  many  times  as  is 
indicated. 

Upon  examination  it  is  found  that  to  produce 
the  finished  piece  of  cloth  the  pattern  treadles  are 
tied  as  follows : 

The  lower  heddle  sticks  are  tied  one  to  each 
lamb. 

Treadles  1  and  2  are  tied  to  the  first  lamb. 
Treadles  1  and  4  are  tied  to  the  second  lamb. 


84 


Fig.  120 — Curtains  with  Border  from  Rings  and  Chains 


Fig.  119 — Counterpane  Woven  from  Rings  and  Chains 


Fig.  121— Counterpane  Woven  from  Old  Quilt  Pattern 


85 

Treadles  3  and  4  are  tied  to  the  third  lamb. 

Treadles  2  and  3  are  tied  to  the  fourth  lamb. 

Plain  weave: 

Treadles  1  and  3  are  tied  to  the  right  middle 
treadle. 

Treadles  2  and  4  are  tied  to  the  left  middle 
treadle. 

The  materials  used  are  similar  to  those 
previously  suggested  for  other  patterns. 

Figure  120  shows  a  pair  of  curtains  woven  of 
Egyptian  twine.  The  border  is  an  adaptation  of 
"Rings  and  Chains."  The  part  used  in  the  border 
may  easily  be  found  in  the  completed  counterpane, 
Fig.  119.  The  threading  for  the  border  in  the  cur- 
tains is  the  same  as  shown  in  Fig.  117.  In  weaving 
only  the  treadles  are  used  that  will  produce  the 
borders  shown  in  the  curtains. 

Old  Quilt  Pattern 

The  finished  counterpane  shown  in  Fig.  121 
was  woven  by  following  the  draft  shown  in  Fig.  122. 

The  name  of  this  particular  pattern  is  unknown 
to  the  author.  The  draft  was  taken  from  an  old 
counterpane  belonging  to  Miss  Elizabeth  Gauger, 
of  Joliet,  111. 

Each  lower  heddle  stick  is  tied  to  a  lamb. 

The  treadles  are  tied  as  follows: 

Treadles  1  and  2  are  tied  to  the  first  lamb. 

Treadles  2  and  3  are  tied  to  the  second  lamb. 

Treadles  3  and  4  are  tied  to  the  third  lamb. 

Treadles  1  and  4  are  tied  to  the  fourth  lamb. 


Fig.  122 — Old  Quilt  Pattern.     Draft  of  Pattern 

Plain  weave: 

Lambs  1  and  3  are  tied  to  the  right  middle 
treadle. 

Lambs  2  and  4  are  tied  to  the  left  middle  treadle. 

Other  Patterns 

The  amateur  weaver  has,  no  doubt,  learned  by 
this  time  just  how  to  read  each  draft.  It  has  already 
been  stated  that  the  draft  tells  the  whole  story. 

The  lambs  are  always  tied  one  to  each  lower 
heddle  stick. 

The  treadles  are  now  tied  to  the  lambs.  Fig. 
76  suggests  the  way  the  draft  may  be  divided  in 


Fig.  123    -Leopard  Skin.     Original  Pattern 


Fig.  124 — Leopard  Skin.     Draft  of  Pattern 


87 


HffittSBftS 


Fig.  125 — Fox  Trail.     Draft  of  Pattern 

:  - 


.... 


Fig.  126 — Fox  Trail.     Original  Pattern 


Fig.  127  —Doors  and  Windows.     Original  Pattern 


Fig.  128   -Doors  and  Windows.     Draft  of  Pattern 


3* 


88 


Fig.  129— Double  Chariot  Wheels.     Draft  of  Pattern 


Fig.  130 — Double  Chariot  Wheels.     Original  Pattern 


I 


Fig.  131 — Scarlst  Balls.     Original  Pattern 


4 
3 

1 


Fig.  132— Scarlet  Balls.     Draft  of  Pattern 


I  1- 


,» 


89 


Fig.  133— Sea  Star.     Draft  of  Pattern 
I 


Fig.  135  -  The  White  House.     Original  Pattern 


Fig.  134  -Sea  Star.     Original  Pattern 


Fig.  136— The  White  House.     Draft  of  Pattern 


90 


4 
f 


t'.'.'.t1.     -T 

III  _  l  _  l  _  l  p  a  •  •  I 


i 


I 


Fig.  137 — The  Indiana  Frame  Rose.     Draft  of  Pattern 


Fig.  138 — The  Indiana  Frame  Rose.     Original  Pattern 


Fig.  139 — Window  Sash.     Original  Pattern 


3* 

Fig.  140 — Window  Sash.     Draft  of  Pattern 


91 


Fig.  141 — Parson's  Beauty.     Draft  of  Pattern 


Fig.  142  —Parson's  Beauty.     Original  Pattern 


Fig.  143 — Braddock's  Defeat.     Original  Pattern 


4. 

3 
2 


9X 


Fig.  144 — Braddock's  Defeat.     Draft  of  Pattern 


92 


Fig.  145— The  King's  Flower.     Draft  of  Pattern 


Fig.  146 — The  King's  Flower.     Original  Pattern 


Fig.  147  -Queen's  Delight.     Original  Pattern 


4- 

3 

a 


Fig.  148— Queen's  Delight.     Draft  of  Pattern        JX 


.       ..-•'. 


Fig.  149— Old  Irish  Quilt  Pattern.     Draft  of  Pattern 

inr  >r 


//x 


1JIII   Ji    H    Jl    JWHWW     H. 

HWttHt 


H     Hill/ 


"AW     " 


i    jf{    ff     n    TBT"^  "       JBS    ant — aot — •**• - 

Fig.  150— Old  Irish  Quilt  Pattern.     Original  Pattern 


Fig.  151— The  Cross.     Original  Pattern 


Fig.  152— The  Cross.     Draft  of  Pattern 


94 


• 

• 

• 

1 

• 

1 

1 

1 

V 

i 

at 

i 

• 

i 

i 

i 

i 

i 

• 

•E 

• 

r 

• 

i 

i 

i 

• 

i 

• 

i 

• 

i 

i 

i 

• 

1 

1 

1 

1 

1 

1 

1 

- 

1 

- 

1 

~y 

•j 

i 

i 

i 

i 

i 

i 

i 

i 

i 

i 

i 

— 

i 

i 

i 

i 

i 

i 

J- 

i 

i 

i 

r~ 

t 

1 

• 

1 

1 

1 

f 

I  l>  I  I  I  * 


Jx 

Fig.  153 — Double  Bow  Knot.     Draft  of  Pattern 


95 


Fig.  154 — Double  Bow  Knot.     Original  Pattern 


Fig.  155 — Four  Wheels.     Original  Pattern 


I 


4. 

3 

1 


Fig.  156  —Four  Wheels.     Draft  of  Pattern 


i 


Fig.  157 — Virginian  Snow  Ball.     Draft  of  Pattern 


Fig.  158 — Virginian  Snow  Ball.     Original  Pattern 


Fig.  159 — Dog  Tracks.     Original  Pattern 


Fig.  160 — Dog  Tracks.     Draft  of  Pattern 


97 


Fig.  161 — The  Platform.     Draft  of  Pattern 


Fig.  162  -The  Platform.     Original  Pattern 


Fig.  163  —Guess  Me.     Original  Pattern 


Fig.  164— Guess  Me.     Draft  of  Pattern 


Fig.  165 — Wind  Flower.     Draft  of  Pattern 


order  easily  to  read  the  various  changes  and  make 
the  "tie-up"  stand  out. 

It  is  better  to  figure  out  the  "tie-up"  for  the 
pattern  first.  The  plain  weave  "tie-up"  cannot  be 
the  same  as  any  ..one  of  the  pattern  combinations. 

It 'is  only  possible  to  have  six  combinations  in 
all.  This  makes  the  plain  "tie-up"  very  apparent,  as 
it  must  be  either  1  and  2,  3  and  4,  or  1  and  3,  2  and  4. 
Very  rarely  does  it  appear  in  any  other  combination. 

There  are  other  ways  for  the  amateur  weaver 
to  determine  this,  but  for  the  present  the  one  given 
is  sufficient. 

With  the  knowledge  previously  gained  the  "tie- 


up"  for  each  of  the  following  drafts  may  easily  be 
determined.  T,,.    ,  -, 

Wind  Flower 

The  "Wind  Flower"  is  a  good  example  of  a 
counterpane  in  which  two  drafts  are  used;  one  to 
be  followed  in  the  threading,  and  the  other  to  be 
followed  in  using  the  treadles. 

Figure  165  shows  exactly  the  way  the  loom 
should  be  threaded  to  produce  the  pattern  shown 
in  Fig.  167.  After  the  threading  is  completed  there 
is  no  further  use  for  Fig.  165.  The  lambs  and 
treadles  are  tied  the  same  as  in  previous  patterns: 

2  and  3  to  the  first  treadle. 

£>order 


Fig.  166 — Wind  Flower.     Treadle  Draft 


99 


Fig.   167— Original  Pattern  and  Border  Woven  from  The  Wind 
Flower  Pattern 


Fig.  168     The  Whig  Rose.     Original  Pettern 


100 


Se/vaee 


Fig.  169— The  Whig 

1  and  2  to  the  second. 

1  and  4  to  the  third. 

3  and  4  to  the  fourth. 

For  the  plain  weave,  2  and  4  are  tied  together, 
and  1  and  3. 

When  weaving,  Fig.  166  is  followed;  the  weaver 
pressing  down  such  treadles  as  will  draw  down  the 
threads  indicated  in  the  treadling  draft.  To  de- 
termine the  number  of  times  each  treadle  should 
be  pressed  down  the  draft  may  be  divided  in  groups 
of  threads  as  suggested  in  Fig.  76. 

The  Whig  /?ose 

Figure  168  shows  another  pattern  woven  by 
using  two  drafts,  one  for  threading  and  one  for 


Rose.     Draft  of  Pattern 

treadling.  Fig.  169  shows  the  threading  draft  for 
the  Whig  Rose,  while  165  shows  the  treadling  draft 
for  the  same.  The  pattern  treadles  are  tied  1  and 
2  to  the  first  treadle,  2  and  3  to  the  second,  3  and  4 
to  the  third,  1  and  4  to  the  fourth. 

The  plain  weave  is  done  by  tying  1  and  3  to 
the  right  middle  treadle,  and  2  and  4  to  the  left 
middle  treadle. 

After  the  threading  has  been  completed  there 
is  no  further  use  for  Fig.  169.  When  weaving, 
follow  Fig.  170,  remembering  that  each  dark  square 
represents  one  woof  thread. 

Border 


Fig.  170— The  Whig  Rose.     Draft  of  Pattern 


CHAPTER  IV 


Danish  and  Norwegian  Weaving 


Ways  of  Expressing  Danish  Patterns 

It  has  been  stated  already  that  no  attempt 
has  been  made  to  make  this  manual  technical. 
The  plan  is  to  keep  every  pattern  simple  and  to  tell 
of  its  execution  in  as  simple  a  way  as  possible. 

The  Danes,  Swedes,  and  Norwegians  have 
carried  weaving  on  the  foot-power  loom  to  a  high 
degree  of  efficiency.  The  work  is  carried  on  to  a 
very  great  extent  in  the  homes.  This  is  largely  due 
to  the  fact  that  the  governments  of  these  countries 
encourage  weaving  as  a  home  industry.  Each  of 
these  countries  has  its  own  way  of  writing  and 
reading  drafts.  It  is  the  purpose  of  this  manual  to 
give  to  amateur  weavers  an  explanation  of  the  way 
each  of  the  three  nationalities  writes  and  interprets 
its  drafts. 

Reading  a  Draft 

Figure  171  shows  a  four-harness  pattern  woven 
by  using  three  treadles.  The  lower  heddle  sticks 
are  tied  one  to  each  lamb. 

The  treadles  are  tied  as  indicated  by  the  stars 
placed  on  the  horizontal  lines  just  to  the  right  of 
the  threading.  The  tie-up  is  interpreted  as  follows: 


Lambs  2  and  4  tie  to  the  first  treadle. 

Lambs  1  and  3  tie  to  the  second  treadle. 

Lambs  1  and  2  tie  to  the  third  treadle. 

The  order  in  which  the  treadles  are  pressed 
down  is  indicated  by  the  stars  on  the  vertical  lines 
just  to  the  right  of  the  woven  pattern.  Treadle  No. 
3  is  pressed  down  first,  then  treadle  No.  2,  then  back 
to  No.  3,  next  No.  1,  and  then  back  to  No.  3,  etc. 

Figure  172  shows  the  draft  and  a  woven  sample 
for  a  two-harness  loom.  Each  horizontal  line  above 
the  woven  pattern  stands  for  a  pair  of  heddle  sticks 
(harness).  Each  vertical  line  stands  for  a  treadle. 
This  draft  is  threaded  in  the  following  way: 

The  first  thread  passes  through  the  eye  of  the 
heddle  on  the  first  pair  of  heddle  sticks.  The  second 
thread  passes  through  the  eye  of  the  heddle  on  the 
second  pair  of  heddle  sticks.  Each  time  a  heddle  is 
threaded,  it  is  pushed  along.  The  third  thread 
passes  through  the  eye  of  the  heddle  on  the  third 
heddle  stick  and  is  pushed  along.  The  fourth 
thread  passes  through  the  eye  of  the  first  heddle 
on  the  fourth  heddle  stick  and  is  pushed  along. 
The  fifth  thread  goes  back  to  the  first  heddle  stick 


101 


102 


Fig.  171 


Fig.  172 


Fig.  173 


Fig.  174 


and  is  threaded  through  the  eye  of  the  second  heddle 
and  is  pushed  along.  The  threading  continues 
the  same  as  the  first  four  threads,  the  order  being 
1,  2,  3,  4.  This  is  continued  until  the  desired  num- 
ber of  threads  has  been  threaded. 

It  will  be  observed  that  only  two  treadles  are 
used  while  there  are  four  harnesses  for  plain  weav- 
ing. The  beginner  might  ask  why  use  four  harnesses 
when  two  might  answer  the  purpose.  If  any  great 
number  of  threads  is  to  be  used  in  plain  weaving, 
it  is  better  to  use  four  harnesses  instead  of  two, 
threading  as  above  described. 

Tying  the  Treadle 

It  will  be  observed  that  the  lower  heddle  sticks 
2  and  4  are  tied  to  the  right  treadle,  and  1  and  3  to 


the  left  treadle.  This  is  indicated  by  the  stars 
placed  on  the  vertical  lines  to  the  right  of  the 
threading  draft.  With  this  tie-up,  each  time  a 
treadle  is  pressed  down,  one-half  the  threads  are 
drawn  down.  This  practically  does  what  two 
harnesses  would  do.  By  using  four  sets  the  threads 
are  not  crowded  so  closely  together.  The  stars 
placed  on  the  vertical  lines  to  the  right  of  the  woven 
sample  indicate  the  order  in  which  the  treadles  are 
to  be  pressed  down. 

Fig.  173  shows  a  somewhat  checked  material. 
To  produce  this  pattern  the  warp  is  made  up  of 
blue  and  white  threads.  The  threading  is  done  the 
same  as  in  Fig.  172,  but  first  two  blue  and  then  two 
white  threads  are  threaded  until  the  entire  number 


103 


Fig.  175 


Fig.  176 


Fig.  177 


Fig.  178 


of  threads  has  been  used.  When  weaving,  two  blue 
threads  are  used  and  then  two  white.  This  neces- 
sitates the  use  of  two  shuttles.  It  is  also  understood 
that  when  preparing  the  warp  chain,  the  spools  of 
war])  are  so  placed  on  the  spool  rack  that  two  blue 
and  two  white  threads  are  reeled  or  warped  at  one 
time.  The  stars  marked  on  the  vertical  lines  indi- 
cate that  first  one  treadle  and  then  the  other  is  to 
be  pressed  down. 

Fig.  174  shows  another  four-harness,  but  prac- 
tically only  two-harness  pattern.  The  threading  is 
done  the  same  as  in  the  two  already  described. 
Harnesses  1,  2  and  3  are  tied  to  the  left  treadle,  and 
harness  4  to  the  right  treadle.  This  is  indicated  by 
the  stars  placed  on  the  vertical  lines  to  the  right  of 
the  threading  draft. 


The  stars  on  the  vertical  lines  to  the  right  of 
the  woven  pattern  indicate  the  order  in  which  the 
treadles  are  pressed  down. 

Figure  175  shows  a  four-harness  pattern,  a 
little  more  irregular  in  its  threading.  The  greatest 
care  must  be  exercised  when  threading. 

In  tying  up  this  pattern  the  lambs  are  tied  one 
to  each  lower  heddle  stick.  The  stars  on  the  vertical 
lines  to  the  right  of  the  threading  indicate  the  order 
in  which  the  treadles  are  tied  to  the  lambs.  Treadle 
No.  1  is  tied  to  the  3rd  and  4th  lambs.  Treadle 
No.  2  is  tied  to  the  1st  and  2nd  lambs.  Treadle  No. 
3  is  tied  to  the  2nd  and  4th  lambs.  Treadle  No.  4 
is  tied  to  the  1st  and  3rd  lambs. 

The  stars  on  the  vertical  lines,  to  the  right  of 
the  woven  pattern,  indicate  the  order  in  which  the 


104 


Fig.  179 


Fig.  180 


Fig.  181 


Fig.  182 


treadles  are  to  be  pressed  down.  The  order  is  first 
treadle  4,  then  3,  2  and  1.  Then  back  again  to  4, 
3,  2,  1.  This  order  is  continued  throughout  the 
entire  weaving. 

Figure  176  shows  a  most  interesting  weave  for 
towels.  The  warp  and  woof  should  be  of  linen. 
The  threading  is  done  as  shown  in  the  draft.  Lambs 
and  treadles  are  tied  as  shown  by  stars  to  the  right 
of  the  threading  draft.  The  order  of  treadling  is 
shown  by  stars  on  vertical  lines  to  the  right  of 
woven  sample. 

Figure  177  shows  a  serge.  The  warp  and  woof 
should  be  of  wool.  Threading  and  tie-up  are  as  in- 
dicated in  the  draft. 

Fig.  178  shows  another  serge  weave. 


Figure  179  shows  a  pattern  woven  on  a  six 
treadle  loom.  The  method  of  handling  more  than 
four  harnesses  will  be  treated  a  little  later.  It  is  a 
very  interesting  weave  which  may  be  used  for  winter 
coats.  The  warp  and  woof  are  of  wool.  Two  threads 
are  drawn  through  each  dent  of  the  reed.  Note  the 
irregular  way  in  which  the  treadles  are  pressed  down. 

Figure  180  shows  an  interesting  weave  to  be 
used  in  towels.  The  dark,  vertical  stripe  shows  a 
number  of  colored  threads  reeled  in  the  warp,  while 
the  horizontal  dark  stripe  indicates  that  the  same 
color  is  used  as  woof. 

This  pattern  is  commonly  known  as  the  "Goose 
Eye."  The  threading  and  treadling  are  done  as  in- 
dicated. Two  threads  are  drawn  through  each  dent. 


105 


Fig.  183 


Fig.  184 


Fig.  185 


Fig.  186 


Figure  181  shows  a  canvas  weave.  The  thread- 
ing is  done  the  same  as  in  previous  patterns.  The 
little  circle  placed  below  and  between  the  groups 
of  threads  only  indicates  that  a  dent  in  the  reed  is 
to  be  omitted  and  has  no  reference  to  the  threading 
of  the  pattern. 

It  will  be  observed  that  the  threads  are  in 
groups,  four  in  each.  Each  group  of  four  threads 
is  drawn  through  every  other  dent  of  the  reed.  In 
other  words,  every  other  dent  of  the  reed  is  left 
vacant.  The  threads  on  heddle  sticks  1  and  2  make 
one  group  and  the  threads  on  heddle  sticks  3  and  4 
make  another  group.  This  is  clearly  shown  in  the 
draft.  When  weaving,  the  first  and  fourth  woof 
threads  are  to  be  double. 

Fig.'  182  shows  a  very  interesting  curtain  ma- 


terial woven  by  using  four  harnesses  and  three 
treadles. 

The  plain  stripe  is  shown  in  the  first  part  of 
the  threading  draft.  This  number  of  threads  may 
be  increased  so  as  to  make  any  width  desired.  The 
closely  woven  bands  at  the  edges  of  the  plain  stripe 
are  obtained  by  drawing  two  threads  through  each 
dent. 

The  open  work  is  produced  by  drawing  the 
three  threads,  held  together  at  the  base,  through  a 
single  dent.  The  small  circles  between  the  groups 
indicate  a  dent  to  be  omitted.  The  tie-up  and 
treadling  are  done  as  indicated  in  the  draft. 

In  Figs.  183,  184,  185,  and  186  are  given  ex- 
amples of  five  and  six  harness  patterns.  While 
these  drafts  are  threaded  and  tied  up  the  same  as 


106 

other  patterns,  the  method  of  hanging  the  harnesses 
is  somewhat  different  and  will  be  taken  up  in  detail 
a  little  later. 

Norwegian  Patterns 

The  three  patterns  which  follow  show  that  the 
Danish  and  Norwegian  ways  of  writing  patterns 
are  very  much  the  same. 

Figure  187  shows  a  very  interesting  pattern 
and  draft  which  may  be  produced  on  a  four-harness 
loom  using  eight  treadles.  In  reeling  the  warp, 
eight  threads  of  one  color  are  used  (say  blue)  and 
then  eight  threads  of  white.  Two  threads  are  drawn 
through  the  eye  of  each  heddle  and  also  through 
each  dent  of  the  reed.  The  woof  thread  is  also 
wound  double  on  the  bobbins  so  that  each  time  the 
shuttle  passes  through  the  shed  two  threads  are 
carried  at  the  same  time. 

The  horizontal  parallel  lines  represent  the 
harnesses,  which  are  the  same  as  heddle  sticks.  The 
vertical  parallel  lines  represent  the  treadles.  The 
stars  indicate  the  way  the  treadles  are  tied  to  the 
lambs.  The  little  dashes  on  the  vertical  lines  in- 
dicate the  order  in  which  the  treadles  are  pressed 
down.  This  order  of  treadling  is  continued  until 
the  desired  amount  of  fabric  is  woven. 

Figure  188  shows  a  pattern  in  which  the  reel- 
ing is  done  by  running  three  blue  threads  and  one 
white  thread  on  the  beam.  The  entire  warp  is  made 


Fig.  187 


Fig.  188 


Fig.  189 


up  in  this  way,  three  blue  and  one  white.  Each 
thread  passes  through  the  eye  of  a  heddle,  and  only 
one  thread  to  each  dent  of  the  reed.  When  weaving, 
three  blue  woof  threads  are  woven  and  then  one 
white. 

In  warping  for  the  pattern  shown  in  Fig.  189, 
two  blue  and  two  white  threads  are  warped  at  the 
same  time.  The  threading  is  done  by  threading 
singly  two  blue  and  then  two  white,  as  indicated  in 
the  draft.  Two  threads  are  drawn  through  each 
dent  of  the  reed. 


CHAPTER  V 


Swedish  Weaving 


Swedish  Way  of  Writing  a  Draft 

In  many  respects  the  Swedish  way  of  writing 
a  draft  is  more  simple  than  any  of  the  other  ways 
described. 

The  patterns  which  follow  are  all  written  in 
the  Swedish  manner  and  are  interpreted  in  the  fol- 
lowing way: 

In  Fig.  191  is  shown  a  two-harness  pattern. 
The  threading  indicates  that  two  threads  are 
drawn  through  each  eye  of  the  heddles;  two  through 
the  eye  of  the  first  heddle  on  the  back  heddle  sticks, 
and  then  two  through  the  eye  of  the  first  heddle  on 
the  first  or  front  heddle  sticks. 

It  may  also  be  done  by  threading  only  one 
thread  through  each  eye  but  using  two  heddles  on 
the  same  sticks.  Two  threads  may  be  drawn 
through  each  dent  of  the  reed. 

Figure  193  shows  what  may  be  called  either  a 
two-treadle  or  four-treadle  draft.  If  two  treadles 
are  used,  two  lambs  tie  to  each  treadle.  It  must 
always  be  remembered  that  each  lamb  is  tied  to  a 
lower  heddle  stick.  Tying  to  the  lambs  is  the  same 
as  tying-to  the  lower  heddle  sticks. 


When  the  foot  presses  a  treadle  it  draws  down 
two  harnesses. 

If  four  treadles  are  used, -one  to  each  lamb,  it  is 
necessary  to  use  both  feet  in  pressing  down  two 
treadles  at  the  same  time.  The  treadles  marked  one 
and  one  indicate  that  these  are  the  first  to  be  pressed 
down  and  mean  treadles  1  and  3.  Two  and  two  in- 
dicate the  second  change  and  indicate  that  the  second 
and  fourth  treadles  are  pressed  down. 

Figure  192  shows  the  draft  for  a  four-harness 
loom.  The  space  between  each  pair  of  horizontal 
parallel  lines  stands  for  a  pair  of  heddle  sticks. 

Each  space  between  the  vertical  parallel  line 
represents  a  treadle.  The  little  dots  within  the  small 
squares  indicate  the  order  in  which  the  treadles  are 
to  be  tied  to  the  lambs. 

The  figures  just  below  the  dots  indicate  the  order 
in  which  the  treadles  are  pressed  down. 

Figure  192  is  threaded  by  passing  a  thread 
through  the  eye  of  the  heddle  on  the  back  or  fourth 
heddle  sticks.  The  second  thread  passes  through 
the  eye  of  the  heddle  on  the  third  heddle  sticks,  the 
third  thread  passes  through  the  eye  of  the  heddle  on 


107 


108 

the  second,  and  the  fourth  thread  passes  through  the 
eye  of  the  first  heddle  on  the  first  or  front  heddle 
sticks. 

The  entire  draft  is  threaded  by  following  this 
order : 

The  lambs  are  tied  one  to  each  lower  heddle  stick. 
The  pattern  indicates  according  to  the  little  dots 
that  the  fourth  lamb  is  tied  to  the  first  treadle,  the 
second  lamb  is  tied  to  the  second  treadle,  the  third 
lamb  is  tied  to  the  third  treadle,  and  the  first  lamb 
is  tied  to  the  fourth  treadle. 

The  figures  just  below  the  dots  indicate  that  the 
treadles  are  pressed  down  in  the  order  of  first  1, 
then  2,  3,  and  4.  This  order  of  treadling  is  kept  up 
until  the  desired  amount  of  material  is  woven. 

In  Fig.  194  is  shown  the  same  threading,  but 
a  different  order  of  tying. 

Lambs  1  and  2  are  tied  to  the  first  treadle. 
Lambs  1  and  3  are  tied  to  the  second  treadle.  Lambs 
1  and  2  are  tied  to  the  third  treadle.  Lambs  2  and  4 
are  tied  to  the  fourth  treadle. 

The  order  of  pressing  the  treadles  is  shown  by 
the  figures. 

In  Fig.  196  the  threading  is  the  same  as  in  the 
two  previous  patterns.  The  lambs  are  tied  as  follows : 

1,  3  and  4  to  the  first  treadle. 

2  and  3  to  the  second  treadle. 

1,  2  and  3  to  the  third  treadle. 

2  and  4  to  the  fourth  treadle. 


Fig.  190 


Fig.  191 


Fig.  192 


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Fig.  193 


1  to  the  fifth  treadle. 

2  to  the  sixth  treadle. 

While  this  pattern  requires  six  treadles,  there 
will  be  no  difficulty  in  understanding  the  tie-up. 


Fig.  194 


Fig.  195 


• 

• 

1 

• 

• 

• 

,1 

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• 

• 

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• 

• 

• 

1 

6 

5 

4 

3 

2 

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j 

• '.•>.,'..'..'..•.••.  •',  •,  ',  '.• 
•\-:'*..\'.  •..'..',<..•:.'• 
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•H'W'.*  -t-V-V'»  ^ 


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1           1 

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1            C 

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3 

2 

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2 

a 

3 

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4 

4 

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Fig.  196 


109 

Figure  196  shows  the  same  threading  and  two 
ways  of  "tie-up."  The  first  shows  each  lower  heddle 
stick  tied  to  a  treadle.  In  such  case  treadles  1  and  4 
are  pressed  down  the  first  time,  indicated  by  the 
two  ones.  The  next  time  treadles  1  and  2  are 
pressed  down  at  the  same  time,  indicated  by  the  two 
twos.  The  third  time  treadles  2  and  3  are  pressed 
down,  indicated  by  the  two  threes.  The  fourth 
time  treadles  3  and  4  are  pressed  down,  indicated  by 
the  two  fours.  After  following  this  order  once  it  is 
gone  right  over  again  and  continued  until  the  de- 
sired amount  of  material  is  woven. 

The  other  tying  gives  exactly  the  same  result 
because  of  the  fact  that  two  lambs  are  tied  to  one 
treadle.  This  latter  plan  is  better  and  makes  it 
possible  to  accomplish  much  greater  results  in  the 
amount  of  fabrics  woven. 

In  the  next  four  patterns,  197  to  200  inclusive, 
the  threading  is  the  same  as  in  previous  patterns. 
The  treadling  is  done  by  following  the  order  of 
numbering. 

In  Fig.  199  the  number  5  means  that  the  third 
treadle  is  to  be  pressed  down,  and  number  6  indi- 
cates the  second  treadle  pressed  down. 

In  Fig.  201  the  threading  is  done  the  same  as 
in  the  two-harness  loom  draft  shown  in  Fig.  191. 


110 

Irregular  Threading 

In  Fig.  202  is  shown  the  first  irregular  threading. 
The  first  thread  passes  through  the  first  heddle  on 
the  fourth  heddle  stick,  the  second  thread  passes 
through  the  first  heddle  on  the  third  heddle  stick, 
the  third  thread  goes  back  to  the  second  heddle 
on  .the  fourth  heddle  stick,  the  fourth  thread  to  the 
second  heddle  on  the  third  heddle  stick,  the  fifth 
thread  through  the  first  heddle  on  the  second  heddle 
stick,  the  sixth  thread  through  the  first  heddle  on 
the  first  heddle  stick,  the  seventh  thread  through  the 
second  heddle  on  the  second  heddle  stick,  and  the 
eighth  thread  through  the  second  heddle  on  the  first 
heddle  stick. 

In  Fig.  203  is  shown  another  irregular  threading; 
first  between  the  3rd  and  4th  heddles  and  then  be- 
tween the  1st  and  2nd.  Observe  the  grouping  of  the 
treadling. 

The  lambs  are  tied  as  indicated  by  the  dots. 
The  treadles  are  pressed  down  as  indicated  by  the 
figures.  The  first  time  treadle  1  is  pressed  down. 
The  next  No.  2,  the  third  time  No.  1  again,  the  fourth 
time  No.  2  again.  The  fifth  time  No.  1.  The  next 
five  times  are  between  treadles  3  and  4.  The  next 
goes  back  to  the  first  and  second  treadles.  This 
order  is  kept  up  until  the  desired  amount  of  ma- 
terial is  woven. 

Figure  204  shows  what  is  known  as  the  "Honey 


Fig.  197 


Fig.  198 


Fig.  199 


• 

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f. 

3 

5 

2 

6 

1 

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Fig.  200 


Fig.  201 


Fig.  202 


Ill 

Comb  Weave."  There  will  be  no  difficulty  in  under- 
standing the  threading.  The  first  fourteen  threads 
are  on  the  third  and  fourth  harnesses.  The  second 
fourteen  threads  are  on  the  first  and  second  harnesses. 
To  produce  the  effect  shown  in  the  finished  pattern 
the  entire  warp  is  threaded  just  as  shown  in  the 
draft.  If  a  variation  is  desired  the  loom  may.  be 
threaded  so  six  inches  will  be  the  same  as  shown  in 
the  finished  pattern.  A  four-inch  stripe  may  be 
threaded  by  drawing  28  threads  through  the  heddles 
on  the  third  and  fourth  harnesses  and  then  28  on 
the  first  and  second.  This  is  continued  until  the  de- 
sired width  is  obtained.  The  next  step  is  to  go  back 
to  the  fourteen  threads.  The  treadles  are  tied  one 
to  each  lamb.  In  weaving,  the  first  fourteen  threads 
of  the  woof  are  woven  by  pressing  down  the  first 
and  then  the  second  treadles. 

The  next  is  to  press  down  treadles  one  and  three 
at  the  same  time.  This  is  indicated  by  1  and  1. 
The  next  is  to  press  down  treadles  two  and  four  at 
the  same  time,  and  is  indicated  by  the  figures  2 
and  2.  The  next  fourteen  threads  are  woven  in  by 
pressing  down  treadles  three  and  four  as  indicated 
by  the  figures  placed  in  the  vertical  spaces.  This 
order  of  treadling  is  kept  up  until  the  material  is 
woven. 

Figure  206  shows  a  threading  which  is  the  same 
as  that  of  the  Rose  Path.  By  following  the  order 


112 


Fig.  203 


Fig    104 


10 
11 


Trnrn 


UUUL 


w 

2 


Fig.  205 


of  treadling  as  indicated  by  the  figures  used,  a  most 
pleasing  all-over  pattern  results. 

Figure  207  shows  two  threads  passing  through 
the  eye  of  the  heddle  on  the  fourth  heddle  sticks, 
then  one  thread  each  through  the  third  and  second, 
and  then  two  through  the  eye  of  the  first  heddle  on 
the  first  heddle  sticks. 

The  draft  indicates  two  single  threads  and 
then  one  double.  In  threading,  two  threads  may  be 
drawn  through  each  dent  of  the  reed,  or  a  double 
thread  may  be  drawn  through  the  first  and  then  two 
single,  as  indicated  in  the  draft. 

Observe  the  order  of  treadling,  first  the  first 
treadle,  then  the  second,  and  then  the  third.  The 
fourth  step  indicates  that  the  first,  "marked  four," 
is  pressed  down  and  then  the  second,  "marked  five." 
The  sixth  time  the  foot  presses  down  a  treadle, 
it  is  the  fourth  one. 

The  figures  indicate  the  number  of  times  the 
foot  is  changed  from  one  treadle  to  another.  The 
space  in  which  the  figure  is  placed  is  the  treadle  to 
be  pressed  down. 

Figure  208  shows  the  Swedish  way  of  expressing 
the  pattern  known  as  the  "Goose  Eye."  Observe 
the  order  of  treadling.  The  treadles  are  pressed 
down  in  their  order  from  1  to  4,  then  back  to  1, 
indicated  by  the  number  5;  back  to  the  fourth  in- 


113 


dicated  by  the  number  8;  back  to  number  1  for  the 
third  time,  indicated  by  the  number  9. 

The  second  change  consists  of  the  reverse  order 
of  treadling. 

Figure  209  shows  a  four-harness  pattern  which 
may  be  accomplished  by  using  four  treadles  or 
eight  treadles.  Observe  the  difference  in  the  tie-up. 
If  four  treadles  are  used  they  are  pressed  down  in 
their  regular  order,  1  to  4. 

The  next  time  treadles  1,2,  and  3  are  all  pressed 
down  at  the  same  time.  This  is  indicated  by  the 
three  ones. 

Treadles  1,  2,  and  4  are  next  pressed  down, 
indicated  by  three  twos. 

The  next  time  treadles  1,  3  and  4  and  the  next 
2,  3  and  4. 

If  eight  treadles  are  used  and  tied  as  indicated 
the  work  is  more  rapidly  carried  on. 

Figure  210  shows  a  four-harness  loom.  The 
pattern  is  accomplished  by  tying  and  treadling 
as  indicated  in  the  draft. 

Three-Harness  Draft 

The  amateur  weaver  by  this  time  has  no  doubt 
gained  sufficient  knowledge  of  the  two  and  four- 
harness  drafts  not  only  to  do  the  threading  success- 
fully but  also  to  "tie-up"  for  any  pattern  desired. 
Occasionally  a  draft  appears  which  is  written  in 
three  harnesses,  as  shown  in  Fig.  215.  When  such 


Fig.  206 


Fig.  207 


Fig.  208 


is  the  case  the  upper  heddle  sticks  are  tied  as  shown 
in  Fig.  211.  The  tying  of  the  treadles  is  the  same 
as  for  patterns  already  described. 

Figure  212  shows  the  way  five  harnesses  are 
tied. 

Figure  213  shows  the  tie-up  for  a  six-harness 


114 


Fig.  209 

draft  and  Fig.  214  shows  the  tie-up  for  seven 
harnesses.  The  pulleys  used  may  be  purchased  of 
any  dealer  in  hardware  or  may  be  made  of  wood, 
being  turned  on  a  wood  lathe. 

^<  Figure  215  shows  a  plain  diagonal  weave  in 
three  harnesses.  The  threading  is  simple  and  the 
tie-up  consists  in  tying  a  treadle  to  each  lower  heddle 
stick.  The  drawing  shown  in  Fig.  211  shows  the 
way  the  upper  heddle  sticks  are  tied. 

Figure  216  shows  a  threading  quite  different 
from  that  shown  in  Fig.  215. 

The  first  thread  is  drawn  through  the  eye  of 


Fig.  210 


the  first  heddle  on  the  third  heddle  stick,  the  second 
thread  through  the  eye  of  the  first  heddle  on  the 
second  heddle  stick,  the  third  thread  goes  back  to 
the  eye  of  the  second  heddle  on  the  third  heddle  stick. 

The  next  three  threads  are  on  heddle  sticks  1 
and  2. 

Figure  217  shows  the  draft  and  sample  of  an 
interesting  curtain  material. 

The  threading  is  done  by  following  the  draft. 
The  threads  on  harnesses  1  and  2  make  the  plain 
weave.  The  somewhat  irregular  threading  makes 
the  stripe. 

When    threading    the    reed    draw    one    thread 
through  each  dent  for  the  plain  stripe. 

Skip  one  dent  and  then  draw  the  three  threads 
on  heddle  sticks  2  and  3  through  the  same  dent. 

Skip  a  dent  and  then  draw  the  one  thread  on 
the  first  heddle  sticks  through  a  dent,  skip  a  dent 
and  draw  three,  skip,  draw  one,  skip  and  draw  three, 
etc. 

Eight-Harness  Pattern 

Fig.  219  shows  the  way  the  upper  heddle  sticks 
for  an  eight-harness  loom  are  tied.  There  are  always 
as  many  lambs  used  as  there  are  lower  heddle  sticks. 
Ordinarily  the  eight-harness  loom  works  fairly  well 
when  tied  up  as  shown  in  Fig.  219. 

The  difficulty,  if  there  is  any,  grows  out  of  the 
fact  that'  the  heddle  sticks  or  harnesses  after  being 


115 

drawn  down  refuse  to  return  to  their  original  po- 
sition when  the  foot  releases  the  treadle.  Sometimes 
weights  consisting  of  rectangular  pieces  of  iron  are 
hung  at  each  end  of  the  heddle  sticks.  ^  These 
weights  draw  the  harnesses  back  in  place  when 
raised. 


Fig.  215 


Fig.  216 


Vi/i/i/mmi- 


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r..aB.i^u5f  %;•?•* 

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Fig.  217 


116 

Heddle  Frames 

Sometimes  wire  heddles  are  used  instead  of 
those  made  of  cord.  The  wire  heddles  are  placed 
in  wooden  frames.  These  frames  may  be  suspended 
the  same  as  when  heddle  sticks  are  used. 

Another  Way  of  "Tie-Up" 

Fig.  220  shows  a  way  of  "tie-up"  that  requires 
two  sets  of  lambs.  The  second  set  of  lambs  may 
be  held  in  place  by  an  iron  rod  pushed  through  the 


Fig.  218 

same  brackets  as  hold  the  upper  lambs,  only  lower 
down.  This  is  shown  in  the  construction  of  the 
loom.  The  loom  should  be  about  four  inches  higher 
in  order  to  give  sufficient  space  for  the  two  sets  of 
lambs.  This  may  be  brought  about  by  adding  a 
four-inch  piece  to  each  leg  of  the  loom.  For  all 
ordinary  purposes  the  original  working  drawing  of 


Fig.  219 

the  loom  answers  all  conditions.  By  using  this 
method  the  heddle  horses  are  done  away  with  and 
each  harness  is  tied  so  it  must  pull  either  up  or 
down  when  pressure  is  applied  to  the  treadle.  The 
roller  over  which  the  heddle  horses  are  hung  's  re- 
moved and  replaced  by  the  apparatus  shown  at  A 
and  B,  Fig.  220.  A  detailed  section  is  shown  at 
Fig.  221.  If  an  eight-harness  loom  is  desired,  six- 
teen pieces  are  constructed  as  shown  in  Fig.  221. 
Eight  of  these  are  placed  to  the  right  upper  half  of 
the  loom  and  the  other  eight  to  the  left  upper  half. 


Fig.  220 


117 

The  various  sections  are  held  in  place  by  a  half- 
inch  dowel  rod  as  shown  at  1  and  2,  Fig.  220.  The 
rods  are  supported  by  two  pieces  of  7-8"  maple 
constructed  as  shown  in  Fig.  222.  This  sort  of 
frame  work  replaces  the  roller  as  shown  in  the 
finished  loom  in  Fig.  223. 

The  "Tie-Up" 

Returning  to  Fig.  220,  loops  of  No.  16  blocking 
cord  are  tied  and  hung  from  each  outer  end  of  the 
levers  as  shown  at  C  and  D  in  Fig.  220.    Two  ends 
of  the  cord  are  fastened  to  each  end  of  the  upper 
heddle  sticks,  as  shown  at  E  and  F.    The  loops  and 
ends  are  tied  just  the  same  as  the  treadles  are  tied 
to  the  lambs.    From  the  inner  ends  of  the  levers  H 
and  G,  a  piece  of  blocking  cord  is  tied,  one  end  to 
one,  and  the  other  end  to  the  other  as  shown.    From 
each  loop  a  piece  of  blocking  cord  extends  to  the 
lower  set  of  lambs  by  passing  between  the  harness 
and  ties  the  same  as  all  other  connections  have 
been  made.    Each  lower  heddle  stick  ties  to  an  upper 
lamb  the  same  as  in  the  two  and  four-harness  looms. 
Loops  of  blocking  cord  are  now  drawn  through  the 
holes  of  the  treadles,  one  in  each.    The  upper  lambs 
are  tied  to  the  treadles  the  same  as  in  every  other 
"tie-up,"  the  cord  passing  between  the  lower  lambs. 
The  lower  lambs  are  also  tied  to  the  treadles  by 
using  the  !oops  not  used  in  tying  the  upper  lambs. 


118 


1       10 

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Fig.  222 


Fig.  221 


By  tying  a  loom  in  this  way  all  harnesses  making 
the  pattern  are  drawn  down  while  the  other  harnesses 
are  drawn  up.  No  part  remains  stationary.  The 
weights  previously  mentioned  for  drawing  the  har- 
nesses back  in  place  are  no  longer  necessary.  Fig. 
220  shows  only  a  four-treadle  loom.  This  is  done  to 
avoid  complication  in  the  explanation.  Any  num- 
ber may  be  used.  This  method  of  tie-up  is  especial- 
ly desirable  when  an  odd  number  of  heddle  sticks 
( harnesses )  is  used.  It  does  away  with  pulleys  and 
heddle  horses,  Fig,  223.  The  fact  that  each  part  of  the 
harness  must  either  pull  up  or  down  makes  a  most 
perfect  shed,  thus  avoiding  the  skipping  of  threads, 
so  common  in  weaving  when  the  shed  is  not  perfect. 

Fig.  224  shows  a  very  interesting  pattern  pro- 


duced by  either  five  or  six  harnesses.     The  tie-up 
for  each  is  given  in  the  draft. 

The  order  of  treadling  is  indicated  by  the  figures 
just  below  the  dots  indicating  the  "tie-up." 

The  material  produced  may  be  used  in  a  coun- 
terpane as  well  as  in  a  bathrobe,  if  so  desired. 

The  warp  is  run  off  in  two  colors  in  the  follow- 
ing order: 

112  white  814  white 

18  red  18  red 

62  white  62  white 

18  red  18  red 

112  white 
The  woof  is  of  both  red  and  white. 


119 


Fig.  223 


120 


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planation  is  not  necessary.     If  possible,  the  loom 

Six-Harness  Draft 

The  secret  of  success  in  weaving  is  getting  all 
parts  "tied  up"  so  there  is  no  irregular  pulling  in  any 
way.  Great  care  should  be  exercised  in  using  the 
knots  in  "tie  up"  as  has  been  suggested.  This 
will  enable  the  weaver  quickly  to  adjust  any  irregular 
pulling  without  untying  the  hard  knots  so  often 
used  by  the  amateur  weaver.  It  takes  some  time 
to  adjust  each  part  before  arriving  at  the  stage  where 
everything  moves  smoothly. 

In  the  various  drafts  which  follow  no  attempt 
has  been  made  to  give  a  minute  description  of  each 
pattern.  The  thought  is  that  each  weaver  will  use 
the  draft  best  suited  to  the  needs  at  hand.  Among 
the  patterns  given  are  drafts  for  towels,  dress  goods, 
coats,  upholstering,  table  runners,  curtains,  couch 
covers,  counterpanes,  suiting,  pillow  tops,  etc. 

The  threading,  tie-up  and  the  order  of  treadling 
have  been  so  minutely  described  that  further  ex- 


should  be  equipped  with  the  parts  shown  in  Figs. 
221  and  222,  and  placed  as  shown  in  Fig.  223. 


Fig.  225 

For  the  regulation  four  harness  loom  the  loom 
shown  in  Fig.  20  is  very  satisfactory.  It  is  well  to 
start  out  .with  the  loom  just  as  shown  in  Fig.  20. 
As  the  work  advances  the  various  additions  may  be 
added  as  the  necessity  requires. 


Fig.  226 


Fig.  227 


Fig.  228 


121 
Six-Harness  Loom 

The  Swedish  loom,  as  described  and  illustrated 
in  this  manual,  is  constructed  in  such  a  way  as  to 
permit  of  additional  parts  making  possible  the  pro- 
duction of  many  complicated  patterns.  The  draw- 
ing shown  in  Fig.  220  shows  the  construction  of 
parts  which  makes  easy  the  weaving  with  six 
harnesses. 

The  various  drafts  in  six  harnesses  which 
follow  have  been  very  carefully  worked  out  and 
found  practical  in  every  respect.  Among  the  drafts 
given  are  those  suited  to  upholstering,  dress  goods, 
toweling,  heavy  suiting,  coats,  etc.  The  interested 
weaver  will  find  no  end  of  suggestions.  This,  to- 
gether with  a  little  originality,  will  greatly  simplify 
the  working  out  of  new  and  attractive  patterns. 

It  is  not  necessary  to  confine  the  work  only  to 
certain  materials.  Many  times  a  pattern  worked 
out  in  the  finest  of  threads  may  be  worked  out  in 
a  very  coarse  thread  and  made  to  serve  an  entirely 
different  purpose  from  what  it  was  originally  in- 
tended. 

To  enjoy  weaving  great  care  must  be  exercised 
in  the  "tie-up."  All  parts  must  be  made  to  pull 
evenly.  To  do  this  the  blocking  cord  must  be  used 
and  the  method  of  tying  must  be  observed  in  order 
to  adjust  readily. 


122 


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-CJL 


Eight  Harness  Loom 

The  loom  as  described  for  six  harnesses  will 
answer  the  description  for  the  eight  harness  loom. 
The  parts  necessary  are  described  in  Figs.  220,  221 
and  222.  These  parts  are  shown  properly  placed  in 
the  complete  loom  on  page  119,  Fig.  223. 

The  next  group  of  patterns  from  Fig.  244  to 
Fig.  391  inclusive,  concerns  the  eight  harness  loom. 
The  threading  and  tie-up  have  been  so  carefully 
described  in  previous  patterns  that  there  can  be  no 
difficulty  in  understanding  the  drafts  for  the  eight 
harness  patterns  as  here  given.  It  will  be  found  that 
the  threading  for  many  of  the  eight  harness  pat- 
terns is  the  same,  the  change  in  pattern  being 
brought  about  by  a  change  in  the  tie-up.  One 
threading  therefore  makes  it  possible  to  produce  a 
variety  of  patterns .  by  changing  only  the  order  of 
treadling. 

Numerous  interesting  weaves  which  may  be 
used  for  upholstering,  suiting  material,  towels,  etc., 
are  produced. 


125 


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CHAPTER  VI 
Damask  Weave — Double  Weave 


Damask  Weave 

Figure  392  shows  a  most  interesting  ten-harness 
damask  weave  which  may  be  used  in  weaving  nap- 
kins and  tablecloths.  The  draft  is  written  just  as 
the  Norwegians  write  it.  There  will  be  little  or  no 
difficulty  in  accomplishing  the  weave  after  the 
threading  and  treadling  are  understood. 

It  has  already  been  stated  that  each  horizontal 
line  means  a  pair  of  heddle  sticks.  The  draft  shows 
that  there  are  ten,  divided  into  two  sections  or 
groups,  marked  I  and  II.  The  first  group  consists 
of  the  first  five  harnesses  and  the  second  group  of 
the  second  five. 

The  threading  is  indicated  by  the  slanting  lines 
which  cross  the  horizontal  parallel  lines.  Each 
horizontal  line  crossed  by  a  slanting  line  means  a 
thread. 

The  first  thread  passes  through  the  eye  of  the 
first  heddle  on  the  first  heddle  sticks.  Each  thread 
is  taken  in  its  regular  order,  passing  through  the 
eye  of  the  first  heddle  on  each  pair  of  heddle  sticks 
from  the  first  through  the  tenth. 

The   draft   indicates   that   this  order   is  again 


repeated.  The  threading  now  changes  and  the 
heddles  on  the  first  five  harnesses  only  are  used. 
This  is  continued  for  nine  repeats  as  shown  by  the 


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Fig.  392 

nine  slanting  lines.  The  third  change  is  the  same  as 
the  first,  which  threads  from  the  first  through  the 
tenth. 

The  entire  pattern  is  made  up  by  repeating  the 
draft  shown  in  Fig.  392. 


151 


152 


Threading  the  Reed 

Each  thread  passes  through  the  eye  of  a  heddle. 

In  threading  the  reed,  three  threads  may  be 
drawn  through  each  dent.  Sometimes  when  a  large 
number  of  threads  is  used  to  the  inch,  four  threads 
are  drawn  through  a  dent.  This  makes  it  possible 
to  use  a  coarser  reed,  thus  simplifying  the  threading. 

"Tie-Up" 

It  will  be  observed  that  each  vertical  line  in- 
dicates a  treadle.  These  treadles  are  divided  into 
two  groups,  I  and  II. 

Group  I  operates  the  first  five,  and  Group  II 
operates  the  second  five. 

The  treadles  are  tied  as  indicated  by  the  stars. 
The  double  set  of  lambs  should  be  used.  See  Fig.  220. 

The  treadling  is  done  by  pressing  down  the 
tenth  treadle,  then  the  ninth,  and  so  on  through  the 
ten.  This  order  is  again  repeated.  From  here 
only  the  second  group  treadles  are  pressed  down  in 
their  regular  order  nine  times.  From  here  the 
treadling  goes  back  to  the  tenth  through  the  ten 
twice.  This  order  of  treadling  is  continued 
throughout  the  entire  weaving.  The  weaver  soon 
learns  to  repeat  any  order  of  treadling  as  many 
times  as  is  necessary  to  produce  the  desired  effect. 

Ten-Harness  "Tie-Up" 

If  the  plan  for  "tie-up"  suggested  in  Fig.  220 
is  not  used,  the  device  shown  in  Fig.  393  is  easily 
constructed  and  used  to  work  ten  harnesses. 


The    lowest   pulley    controls   the    two    middle 
harnesses,   the  one   above    controls    the    two    har- 


Fig.  393 


Fig.  394 


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Fig.  395 — Eight-Harness  Damask  Weave 


nesses,  one  at  each  side  of  the  two  center  ones. 
The  third  pulley  controls  two  other  harnesses  in  a 
similar  way  as  just  mentioned.  In  the  case  of  two 
small  pulleys  the  rope  passes  over  the  two,  one  end 
tied  to  one  harness  and  the  other  to  another.  The 
two  top  pulleys  control  the  first  and  last  harnesses. 

No  heddle  horses  are  required. 

The  drawing  shown  in  Fig.  394  shows  the  ropes 
tied  to  One  end  of  the  heddle  sticks. 


Figure  395  shows  the  draft  for  an  eight-harness 
damask  weave  written  in  the  Swedish  way.  In  this 
draft  the  space  between  two  lines  represents  a  pair 
of  heddle  sticks. 

The  threading  begins  at  the  right  and  is  read 
toward  the  left.  When  the  first  part  is  threaded, 
begin  at  the  left  of  the  second. 

The  arrow  indicates  the  end  of  the  border. 

The  center  begins  with  the  arrow  and  includes 


154 


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least  45  threads 

used  to  an  inch.     A  number   15 

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Figure  219  shows  one  way  to  tie  up,  using  one 

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set  of  lambs. 

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Figure  220  shows  the  double  set  of  lambs.     If 

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the  double  set  of 

lambs  is  used  the  dots  indicate 

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^321                            £he  Upper  lambs  tied  to  the  treadles.    The  squares 

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Order  of  Treadling 

The  figures  just  below  the  dots  indicating  the 

all  threads  to  the  left.     The  number  of  times  the          "tie-up"  show  the  order  in  which  the  treadles  are 

center  is  repeated  depends  upon  the  width  the  ma-         pressed  down.     This  has  already  been  explained  in 

terial  is  to  be  when  finished.     After  the  center,  or         detail. 

body,   has  been   threaded   the   desired   number   of                 Figure  396  shows  another  interesting  damask 

times,  the  border  is  again  threaded.                                    weave  done  with  eight  harnesses  and  eight  treadles. 

155 


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Fig.  398 


Fig.  399 


Fig.  400 


Fig.  401 


The  tie-up  is  indicated  by  the  dots  and  the  order 
of  treadling  by  the  figures  just  below  the  dots.  The 
"tie-up"  may  be  with  the  one  set  of  lambs  or  with 
the  double  set. 


The  body  part  of  the  threading  is  repeated  as 
many  times  as  is  necessary  to  give  the  desired  width. 
The  border  also  may  be  repeated  several  times. 

Figure    397    shows   the   threading   for   a    ten- 


157 


Fig.  402 


Fig.  403 


harness  damask  weave.  There  are  three  arrange- 
ments shown.  The  tie-up  and  order  of  treadling  is 
given  for  the  first  one  only.  The  weaver  has,  no 
doubt,  learned  by  this  time  that  the  threading 
indicates  the  treadling. 

While  Figs.  398,  399,  400,  and  401  do  not  show 
the  regular  damask  weave,  they  do  show  good  ex- 
amples of  linen  toweling  and  even  good  examples 
of  materials  that  might  be  used  in  upholstering.  The 
threading  and  "tie-up"  for  Fig.  398  and  Fig.  399  are 
the  same.  The  difference  in  pattern  is  brought  out 
by  a  difference  in  the  order  of  treadling. 

The  stars  on  the  vertical  lines  indicate  the 
order  of  treadling. 

The  threading  and  "tie-up"  for  Fig.  400  and 
Fig.  401  are  the  same.  The  difference  in  pattern 
is  brought  out  by  a  difference  in  treadling. 

Figure  402  shows  a  very  good  diagonal  weave 
in  eight  harnesses.  While  this  draft  is  not  good  for 
toweling,  etc.,  it  is  exceptionally  good  for  coats, 
suiting,  etc.  The  threading,  "tie-up"  and  treadling 
are  all  read  from  Fig.  402. 

Figure  403  is  a  most  excellent  draft  for  linens. 
It  is  not  a  damask  weave  but  very  satisfactory  when 
used  in  towels.  Threading,  tie-up,  and  treadling 
are  all  read  from  the  draft. 


158 


ABAABABA   A  B  A  A B  ABAABAABA  Selvage 


Fig.  404 — Table  Mat.     Draft  of  Pattern 


Table  Mat 


Figure  405  shows  a  table  mat  woven  of  No.  3 
mercerized  cotton  warped  in  two  colors.  The  draft 
shown  in  Fig.  404  indicates  only  two  changes  in  the 
grouping  of  the  threads.  The  colors  used  are 
green  and  golden  brown.  The  selvage  is  of  green. 
The  first  group  of  four  threads,  marked  "A,"  is  of 
golden  brown. 

The  next  four  threads,  marked  "B,"  are  green. 

This  is  repeated  three  times,  first  A  and  then  B. 

It  will  be  observed  that  the  threads  run  in 
groups  of  four,  A  always  being  of  golden  brown 
and  B  of  green. 

Figure  405  requires  408  threads  of  two  colors 
to  be  warped  as  above  described,  a  number  20 
reed,  one  pattern  thread  to  a  dent  and  two  selvage 
threads  to  a  dent  of  the  first  four  and  the  last 
four  dents  of  the  draft. 


The  woof  is  the  same  material  as  the  warp,  a 
No.  3  mercerized  cotton.  The  binder  must  be  a 
much  finer  thread  and  of  a  different  color.  For  the 
above  colors,  an  orange  binder  works  in  very  har- 
moniously. 

The  pattern  lambs  are  tied  in  the  following 
order : 

1  and  2  to  the  first  treadle. 

3  and  2  to  the  second  treadle. 

1  and  4  to  the  third  treadle. 

3  and  4  to  the  fourth  treadle. 

The  plain  weave  is  done  by  tying  lambs  1  and 
3  to  the  right  middle  treadle,  and  2  and  4  to  the 
left  middle  treadle. 

Figure  405,  showing  the  finished  mat,  will  give 
the  weaver  an  idea  of  the  way  in  which  the  treadles 
are  operated  to  produce  the  design  as  given.  The 
vertical  bands  are  unchangeable.  The  horizontal 


159 


bands  may  be  made  any  width  by  repeating  1-2 
and  3-2,  always  using  the  binder  after  each  pat- 
tern thread. 

The  other  combinations  are  1-4  and  3-4. 

The  woof  is  all  of  the  same  color. 

It  is  the  way  the  warping  is  done  and  the 
treadling  that  makes  the  pattern. 

The  table  mat  has  the  effect  of  double  weaving 
done  with  four  harnesses.  It  is  really  a  six-harness 
pattern  reduced  to  four.  A  little  experimenting 
will  suggest  a  very  great  variety  of  combinations  of 
stripes  and  squares  which  the  operator  may  work  out. 
The  combination  of  threading  may  be  varied  so  as 
to  produce  most  interesting  patterns. 

Rug  Weaving  in  Wool 

Figure  406  shows  another  kind  of  double 
weave.  The  weave  in  Fig.  405  requires  a  binder, 
while  the  finished  rug  shown  in  Fig.  406  does  not 
require  a  binder  of  any  kind. 

Figure  407  shows  the  draft. 

The  draft  requires  240  threads.  This  allows  for 
six  selvage  threads  at  the  beginning  and  the  end. 
Three  selvage  threads  are  drawn  through  the  eye 
of  a  heddle  at  one  time.  Only  two  hcddles  are 
used  for  the  selvage.  In  threading  the  selvage 
through  the  reed,  draw  three  threads  through  each 
of  the  two  dents.  The  warp  is  of  ordinary  four- 
ply  carpet  warp. 

11 


Fig.  405— Finished  Mat 


160 


Stiyge. 


Fig.  406 — Finished  Rug 


2x          6*  2x 

Fig.  407 — Draft  for  Rug 

The  threading  is  done  as  shown  in  the  draft, 
care  being  taken  to  repeat  the  number  of  times  as 
indicated. 

There  are  about  seven  threads  to  the  inch. 

Since  the  No.  15  reed  is  already  in  stock  it 
may  be  used  for  the  rug  at  hand,  a  thread  being 
drawn  through  every  other  dent  of  the  reed. 

The  draft  shows  that  there  are  six  harnesses. 
It  requires  but  four  treadles  to  operate  the  six 
harnesses,  which  are  tied  in  the  following  way: 

Lambs  2,  3  and  4  are  tied  to  the  first  treadle. 

Lambs  3,  4  and  5  are  tied  to  the  second  treadle. 

Lambs  1,  3  and  5  are  tied  to  the  third  treadle. 

Lambs  2,  4  and  6  are  tied  to  the  fourth  treadle. 

The  double  "tie-up"  suggested  in  Fig.  220 
may  be  used  to  advantage  in  weaving  this  par- 
ticular pattern. 

To  produce  the  pattern  shown  in  Fig.  406,  two 
shuttles  are  used,  one  with  a  bobbin  of  white  wool 
and  one  with  a  bobbin  of  blue  wool.  The  wool 
used  is  similar  to  that  used  in  kindergarten  weaving. 
It  is  a  kind  of  carpet  yarn.  It  is  almost  as  heavy 
as  cotton  roving. 


Fig.  408 


Operation  of  Treadles 

Treadle  four  is  pressed  down  and  the  shuttle 
containing  the  blue  is  passed  through  the  shed. 
Treadle  one  is  next  pressed  down  and  the  white 
thread  is  passed  through  the  shed. 

Treadle  two  is  next  pressed  down  and  the  blue 
used.  Treadle  three  is  pressed  down  and  the  white 
passed  through  the  shed.  This  order  of  treadling  is 
continued  throughout  the  weaving  of  the  entire 
rug  shown  in  Fig.  40(5. 

Figure  408  shows  the  same  threading,  but  a 
different  order  of  treadling.  Instead  of  using  blue 


161 

and  white  for  the  woof,  tan  and  brown  are  used. 
The  weaving  is  started  in  the  same  way  as  in  Fig.  406. 
After  the  band  of  one  color  is  as  wide  as  is  de- 
sired, the  opposite  color  is  made  to  reverse.  This 
change  is  brought  about  by  passing  the  same  color 
through  the  shed  twice.  The  order  of  treadling  is 
exactly  the  same. 

Sea  Shell  Pattern 

The  draft  shown  in  Fig.  409  is  that  of  a  six- 
harness  loom. 

The  draft  shows  that  ten  treadles  are  required 
to  produce  the  pattern  shown  in  Fig.  410. 

It  requires  148  threads  for  one  repeat. 

The  warp  is  of  a  two-ply  No.  30  Egyptian  twine, 
and  the  woof  is  of  a  No.  5  mercerized  cotton.  There 
are  thirty  threads  to  the  inch  drawn  through  the 
dents  of  a  No.  15  reed,  two  threads  to  the  dent. 

The  lambs  are  tied  to  the  lower  heddle  sticks. 

The  lambs  are  tied  to  the  treadles  in  the  fol- 
lowing order: 

Lambs  1  and  3  are  tied  to  the  first  treadle. 

Lambs  2  and  3  are  tied  to  the  second  treadle. 

Lambs  1  and  4  are  tied  to  the  third  treadle. 

Lambs  2  and  4  are  tied  to  the  fourth  treadle. 

Lambs  1  and  5  are  tied  to  the  fifth  treadle. 

Lambs  2  and  5  are  tied  to  the  sixth  treadle. 

Lambs  1  and  6  are  tied  to  the  seventh  treadle. 

Lambs  2  and  6  are  tied  to  the  eighth  treadle. 


162 


1 

1 

1 

1 

1 

I 

1 

I 

1 

1 

I 

I 

I 

• 

d. 

1 

1 

1 

1 

A 

1 

1 

1 

I 

i> 

1, 

1 

1 

1 

1 

1 

1 

1 

1 

1 

I 

1 

1 

1 

1 

6 

1 

• 

1 

1 

I 

I 

1 

I 

1 

i 

I 

1 

I 

I 

I 

1 

I 

1 

4 

I 

I 

I 

1 

I 

I 

I 

6 

Fig.  409 — Sea  Shell.     Draft  of  Pattern 


The  plain  weave  is  done  by  tying : 

Lambs  1  and  2  to  the  right  middle  treadle. 

Lambs  3,  4,  5  and  6  to  the  left  middle  treadle. 

Figure  410  shows  the  finished  Sea  Shell.  It  is 
a  close  weave  and  may  be  used  for  window  side 
drapes,  pillow  tops,  table  runners,  and  because  of 
the  closeness  of  the  weave  it  may  very  successfully 
be  used  in  upholstering. 

It  is  perhaps  the  most  difficult  to  weave  because 
of  the  six  harnesses  and  ten  treadles.  If  the  double 
"tie-up"  suggested  in  Fig.  220  is  used,  there  will  be 
no  difficulty  in  securing  a  good  shed. 

Any  shade  of  No.  5  mercerized  cotton  may  be 
used. 

The  draft  itself  indicates  the  order  of  treadling. 
It  will  be  remembered  that  each  dark  square  in- 
dicates a  woof  thread.  In  the  first  combination  of 
threads  1  and  3  are  given.  This  means  that  the 
treadle  controlling  harnesses  1  and  3  is  pressed  down 


twice  for  the  pattern  threads  with  a  binder  after 
each  pattern  thread.  Since  this  method  of  express- 
ing the  reading  of  a  draft  has  previously  been  most 
carefully  explained  it  will  not  be  necessary  to  again 
go  into  detail  at  this  time. 

Double  Weaving 

Double  weaving  is  one  of  the  most  interesting 
phases  of  the  art  of  weaving.  It  is  a  branch  of  the 
work  that  amateur  weavers  know  the  least  about. 
It  is  difficult  to  understand  just  how  the  weavers  of 
many  years  ago  controlled  the  number  of  harnesses 
necessary  to  produce  the  seemingly  complicated 
patterns  found  in  old  counterpanes  possessed  by 
many  of  the  older  settlers. 

The  plan  of  this  manual  is  to  give  only  a  few  of 
the  more  simple  suggestions  in  double  weave. 

In  most  of  our  old  Colonial  double  weaves,  the 
warp  is  of  both  cotton  and  wool.  In  short,  there  are 


163 

two  distinct  warps,  the  one  of  wool  being  placed  on 
one  warp  beam  and  the  one  of  cotton  placed  on 
another  beam. 

The  beams  may  be  placed  as  shown  in  Fig.  411. 
An  extra  pair  of  warp  beam  brackets  is  placed  below 
the  pair  already  on  the  loom.  Pegs  are  placed  just 
above  the  ends  of  the  lower  beam  to  prevent  it  from 
being  drawn  upward  when  the  warp  is  tightened. 
See  A,  Fig.  411. 

The  two  beams  are  absolutely  necessary  when 
the  warp  is  of  both  wool  and  cotton  because  of  the 
fact  that  wool  stretches  so  much  more  than  cotton. 
With  the  warp  on  separate  beams  the  wool  may 
be  tightened  to  meet  the  tension  of  the  white  warp. 

The  blue  (if  blue  is  used)  wool  warp  is  placed 
on  the  upper  beam  and  the  white  cotton  on  the  lower 
beam.  Separate  lease  rods  are  used  and  the  ends  of 
the  white  warp  are  carried  right  over  the  blue  warp 
beam. 

Threading  the  Pattern 

When  threading  the  pattern  every  other  thread 
must  be  blue,  as  is  indicated  in  the  draft,  Fig.  412. 

The  pattern  shown  in  Fig.  413  shows  a  simple, 
eight-harness  double  weave. 

The  draft  is  written  in  the  Norwegian  way  and 
resembles  that  of  the  Damask  weave.  The  harnesses 
are  divided  into  two  groups  marked  I  and  II. 

The  circle  indicates  a  white  thread  and  the  dot 


Fig.  410— Sea  Shell 


164 

a  blue  one.    Thread  each,  repeat  as  many  times  as 
is  indicated  by  the  figure  below  the  brace. 

Threading  the  Reed 

Use  a  number  20  reed,  drawing  a  blue  and  a 
white  thread  through  each  dent. 

"Tie-Up" 

The  tie-up  for  this  pattern  is  indicated  by  the 
stars  on  the  vertical  lines. 

The  double  tie-up  using  the  two  sets  of  lambs, 
Fig.  220,  is  the  best  for  double  weaving. 

Treadling 

The  light  and  heavy  dots  on  the  vertical  lines 
indicate  the  order  of  treadling. 

In  weaving,  two  shuttles  are  required,  one  with 
a  bobbin  of  blue  wool  and  the  other  with  a  bobbin 
of  white  four-ply  carpet  warp.  The  first  treadle  to 
the  right  in  group  one  is  pressed  down  and  a  white 
thread  passed  through  the  shed.  The  second  treadle 
is  pressed  down  and  a  blue  wool  thread  is  passed 
through  the  shed.  The  third  treadle  is  pressed  and 
a  white  thread  passes  through.  The  fourth  treadle 
is  pressed  and  a  blue  thread  passes  through.  The 
next  treadle  pressed  down  is  the  first  again. 

Follow  the  order  shown  in  the  draft. 

The  front  border  is  woven  by  pressing  down  the 
treadles  shown  in  the  first  sixteen  changes  just 
below  the  stars  and  indicated  by  the  arrows. 


Fig.  411 — Placing  of  Beams  for  Double  Weaving 


LeffDorcfer 


-O- 


o 


o 


Border 


165 


Q 


•i  - 


o- 


o 


o 


o 


if 


ff 


ff 


ff 


6x 


Ix 


6x 


Ix 


Ix 


6x 


Fig.  412  —  Double  Weave  Draft. 


\  \  \  \ 


\  \\  \\\\ 

\        y  \        \\\' 


s\V\       \  \       \ 


\\\\\\\\\\\      \\      \ 


^^^^\^^^\\\^^^ 


Fig.  413 

The  weaver  must  use  his  own  judg- 
ment in  the  number  of  woof  threads  to 
use.  Fig.  413  shows  a  drawing  of  what 
the  finished  weaving  should  be  like. 

If  the  warj)  is  all  of  cotton,  both  blue  and  white, 
then  one  war])  beam  is  sufficient,  the  warping  being 
done  so  that  every  other  thread  is  blue. 


Fig.  414 


n     i 


Figure  414  shows  the  Danish  way  for  writing 
a  draft  for  double  weaving.  The  threading  resembles 
that  of  the  Damask  weave. 


CHAPTER  VII 
Textiles  and  Wood 


Applications   to  Furniture 

Heretofore  very  little  has  been  done  in  the 
combination  of  hand-woven  textiles  and  wood,  yet 
there  is  no  combination  of  materials  that  gives  such 
a  large  variety  of  artistic  effects  as  this  one.  The 
different  ways  in  which  this  material  may  be  used, 
in  combination  with  wood,  are  too  numerous  to 
mention;  therefore,  we  shall  take  only  those  simple 
problems  which  are  within  the  capabilities  of  even 
a  sixth,  seventh,  or  eighth-grade  boy. 

Foot  Stool 

The  first  problem  that  we  suggest  is  that  of  a 
small  foot  stool,  upholstered  in  hand-woven  material. 
Fig.  415  shows  the  working  drawing  of  this  unique, 
but  simple,  little  foot  stool  showing  the  wide  pos- 
sibilities for  individual  design.  Here  is  a  problem 
that  a  whole  class  may  construct,  and  no  two  made 
alike.  We  have  given  a  few  suggestions  as  to  how 
the  design  of  the  legs  of  the  stool  may  be  altered  or 
enlarged  upon.  The  size  of  the  stool  itself  may  be 
changed  with  pleasing  results  by  making  it  longer, 
lower,  or  narrower,  so  that  there  are  any  number  of 


ways  of  changing  the  design  of  this  stool  without 
losing  any  of  its  artistic  qualities.  It  is  a  most 
flexible  problem. 

After  the  stool  is  constructed,  upholster  it  with 
a  piece  of  hand- woven  material.  This  may  be  either 
woven  by  the  boy  himself  or  by  the  girls  in  the 
weaving  class  of  the  school.  Here  again  are  more 
possibilities  for  making  each  piece  more  individual, 
since  each  piece  of  material  may  be  of  a  different 
pattern,  yet  all  may  be  woven  from  the  same  thread- 
ing on  the  same  loom. 

This  material  might  be  used  wherever  upholster- 
ing is  possible,  on  a  great  variety  of  household 
furniture  with  most  pleasing  and  beautiful  results. 
A  little  touch  of  hand-woven  material  gives  to 
any  article  upon  which  it  is  used  a  most  subtle 
appearance. 

Figure  416  shows  the  completed  stool  made 
from  the  working  drawing  shown  in  Fig.  415.  The 
design  used  for  weaving  the  material  used  in  up- 
holstering this  stool  is  one  of  the  many  possible 
ones  of  the  Rose  Path  pattern. 


166 


167 


Seat  to  be  upholstered 


/\Tev\i  Suggestions 


lill  ol  Material 


FOOT  STOOL 


Fig.  415 — Working  Drawing  of  Upholstered  Foot  Stool 


168 


Fig.  416 — Finished  Foot  Stool 


Waste  Basket 

Figure  418  shows  the  working  drawing  of  a 
very  simple  waste  basket  that  any  sixth-grade  boy 
could  build  without  much  difficulty.  The  only 
difficulty  is  in  boring  the  holes  at  the  proper  angle. 

Two  pieces  of  cloth  are  woven  the  length  of 
two  sides  and  the  bottom.  Hems  are  sewed  at  both 
ends  so  that  when  the  dowel  rods  are  placed  through 
the  hems  and  then  put  in  place,  the  cloth  will  hold 
the  basket  together.  It  is  necessary  to  have  the 
cloth  stretched  very  tightly  in  order  to  have  the 
basket  rigid. 

Figure  417  shows  the  finished  waste  basket. 
The  border  around  the  top  of  the  cloth  is  woven 
with  the  Rose  Path  pattern. 


If  the  tapering  of  the  sides  of  the  waste  basket 
seems  too  difficult,  a  straight  sided  sewing  basket 
may  be  constructed  as  shown  in  Fig.  419.  The  con- 
struction is  the  same  as  for  the  waste  basket.  The 
design  of  the  hand-woven  cloth  is  another  possi- 
bility of  the  Rose  Path  pattern. 

Screens 

There  is  no  article  of  furniture  in  which  hand- 
woven  cloth  may  be  used  so  effectively  as  in  a  screen. 
Fig.  420  shows  the  working  drawing  of  a  screen 
in  which  the  panels  are  of  hand-woven  material. 


Fig.  417— Finished  Waste  Basket 


169 


Bill    o(    Material 


WA5TE.  DA5KLT 


Fig.  418 — Working  Drawing  of  Waste  Basket 


170 


Fig.  419— Finished  Sewing  Basket 

The  inner  sides  of  each  frame  are  grooved  the 
same  as  for  a  wooden  panel;  a  key  is  made  to  fit 
loosely  into  this  groove.  The  cloth  is  placed  over 
the  groove,  the  key  placed  on  top  the  cloth  over  the 
groove,  and  then  forced  down  into  the  groove.  This 
makes  a  very  good  way  of  fastening  the  cloth  to  the 


frames.  A  few  finishing  nails  may  be  driven  through 
the  key  into  the  frame  to  hold  the  key  in  place. 

That  this  combination  makes  a  beautiful  as 
well  as  useful  piece  of  furniture  may  be  seen  from 
the  photograph  shown  in  Fig.  421.  The  cloth  is 
woven  from  the  Orange  Peel  pattern,  a  border  being 
woven  at  the  top  and  bottom  to  break  up  the  space. 

Though  the  construction  of  this  screen  is 
simple,  it  should  be  made  as  a  group  problem 
rather  than  an  individual  one;  the  boys  to  make 
the  frame,  and  the  girls  to  weave  the  cloth. 

Figure  422  shows  the  working  drawing  of 
another  very  attractive  screen  of  different  construc- 
tion from  the  first  one  mentioned.  In  this  screen 
build  the  inside  frames  as  shown,  of  any  lumber, 
then  cover  both  front  and  back  with  the  cloth, 
tacking  it  along  the  outside  edges  of  the  frames. 
Make  the  grooved  strips  as  shown,  and  tack  them 
on  the  outside  edges  of  the  frame,  covering  up  the 
edges  upon  which  the  cloth  has  been  tacked.  This 
gives  a  very  neat  and  effective  finish  to  the  screen, 
since  all  of  the  frame  that  shows  is  the  little  grooved 
moulding  on  the  outside  edges. 

Figure  423  shows  how  attractive  this  kind  of  a 
screen  can  be  made  to  look  by  just  using  strips  of 
hand-woven  cloth,  embroidered  with  rope  silk.  Ob- 
serve how  beautifully  the  panels  are  broken  by 
skilful  designing. 


171 


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174 


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CHAPTER  VIII 


The  Design  and  Construction  of  Looms 


Danish  Loom 

The  following  cuts  show  the  working 
drawings  for  both  the  Danish  and  Swedish 
looms.  If  light  work  only  is  desired  then 
the  Danish  loom  shown  in  Fig.  424  is 
the  loom  to  construct.  Fig.  425  shows 
the  front  working  drawing.  Fig.  426  shows 
the  side  and  Fig.  427  shows  the  detail 
drawings  of  the  various  parts. 

Swedish  Loom 

Fig.  428  shows  the  completed  Swedish 
loom.  If  space  is  available  this  is  the  loom 
to  have.  On  this  loom  may  be  woven 
very  fine  articles  as  well  as  the  Colonial 
rugs.  On  the  Danish  loom  only  the  lighter 
work  can  be  successfully  woven.  Fig.  429 
shows  the  working  drawing  for  the  front  of 
Swedish  loom.  Fig.  430  shows  the  side, 
and  Fig.  431  shows  the  detail  drawings 
of  the  beater,  warp  beam,  heddle  sticks 
and  other  movable  parts. 
12 


175 


Fig.  424 — Sketch  of  Danish  Loom 


176 


177 


178 


Deater 

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Method  o(  fastening  Loom 
together 

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u 

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"Rollers-Make  -2.. 

Fig.  427 — Working  Drawing  of  Loom — Details 


179 


Fig.  428— Finished  Loom — Swedish 


180 


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CO 


Hr 

rf 

4 

-is* 


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Fig.  429 — Working  Drawing  of  Swedish  Loom 


O 

•c 


FRONT  VltW 


181 


T 


t 


ffl 


-16- 


H        SIDE  VIEW 


Fig.  430 — Working  Drawing  of  Swedish  Loom 


182 


Dea  ter 


Warp  Beam 


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1 

a 

39                                         m 

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Meddle  Sticks 


Treadles 

MaKs  6 


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MaKe  4- 


^it- 
Bracket 

MoKe  £ 

Cloth  Beam 


Fig.  431 — Working  Drawing  of  Swedish  Loom — Details 


CHAPTER  IX 
Dyes  and  Dyeing 


When  we  come  to  the  coloring  of  materials  to 
be  used  in  textile  work  a  field  is  entered  that  has 
been  only  partially  explored. 

It  is  true  that  vegetable  dyes  may  be  duller 
and  that  they  do  not  run  through  such  a  lengthy, 
diverse  and  brilliant  gamut  as  the  various  branches 
of  aniline.  But,  they  are  apt  to  be  more  permanent 
and  they  are  so  softened  by  the  mellowing  touch  of 
time,  as  to  gain  with  age  an  exquisite  combination 
of  color  values,  altogether  inimitable. 

It  is  claimed  that  the  Shah  of  Persia  punishes 
with  death,  the  man  who  brings  aniline  dyes  into 
his  kingdom.  Vegetable  dyeing  is  a  fascinating  part 
of  textile  work.  When  one  is  interested  he  is  led  to 
make  many  new  discoveries. 

Utensils  Used 

Copper  kettles  are  the  best  and  when  possible 
should  be  used  in  vegetable  dyeing.  Tin  is  good 
for  bright  colors  but  is  affected  by  acids.  Iron  is 
good  for  certain  plants  but  is  very  hard  to  keep  clean. 
Brass  may  be  used  but  is  not  so  good  as  any  of  the 
other  above  named  utensils.  Enameled  ware  mav 


be  used  but  should  never  be  used  for  food  purposes 
after  dyeing. 

Cleaning  of  Utensils 

The  untinned  copper  kettles  are  best  cleaned 
with  fine  sand  and  a  little  sulphuric  acid.  Vinegar 
or  sour  milk  may  be  used. 

Washing  of  Wool 

All  materials  to  be  dyed  must  be  thoroughly 
clean. 

Wool  is  usually  washed  but  very  little  before 
spinning.  To  obtain  the  best  results  the  skeins  of 
yarn  must  not  be  too  thick.  Ordinarily  80  grams  in 
weight  to  the  hank  is  quite  sufficient.  The  finer  the 
yarn,  however,  the  less  there  should  be  to  the  hank. 
It  must  be  remembered  that  to  obtain  definite  re- 
sults care  must  be  taken  to  weigh  all  materials  to 
be  dyed  and  to  hold  to  definite  measurements. 

Water  Used  in  Washing 

Rain  water  is  the  best  for  washing  purposes. 
All  newly  spun  and  unwashed  wool  must  be  washed 
three  times  in  lukewarm  water. 


183 


184 

The  first  washing  is  done  in  eight  parts  of  water  Formulae  for  Dyeing 

containing  200  gr.  of  soda.  The   following  recipes  have  been   successfully 

The  second  washing  is  done  in  10  parts  of  water  tried  out  and  are  offered  to  those  who  are  interested 

to  100  gr.  of  soda  and  200  grams  of  good  soap  equal  enough  to  not  only  use  what  is  here  suggested  but 

in  quality  to  Ivory  soap.  will  make  further  investigation  in  the  broad  field 

The  third  washing  is  done  in  10  parts  of  water  of  vegetable  dyes, 
and  110  grams  of  soap  only.  Yellows 

Care  should  be  taken  not  to  wash  too  large  a  1-     Wa*  Bellow 

,.,,.,  ,.  -n          o  .      r  i-i  Yarn 250  gr. 

quantity  of  wool  at  one  time.     From  2  to  5  kilo-  Alum  (mordant)  32  |r 

grams  in  the  bath  at  one  time  is  quite  sufficient.  Fresh  bayberry  leaves         500  gr. 

If  the  wool  is  very  dirty  wash  it  in  two  solu-  Mordant  before  dyeing,  boil  the  leaves  one 

tions  of  soda  and  water  and  then  proceed  as  above  hour,  drain,  add  material  and  boil  one  hour. 

direc^d-  2.    Greenish  Yellow 

The  washed  material  is  first  rinsed  in  lukewarm  Yarn  250  gr 

water  and  then  in  several  cold  waters.  Fresh  wild  parsley 1  kg. 

Mordant  Alum  (mordant) 35  gr. 

All  material  is  mordanted  before  dyeing.    Some-  Boil  the  Parsley  one  hour'  drain'  add  the  alum' 

times  the  mordant  is  placed  in  the  dye  itself  but  stlr  wel1  until  alum  has  dissolved.     Boil  material  in 

more  often  the  material  itself  is  mordanted  before  solution  from  £  to  1  hr. 

placing  in  the  dye.     Alum  is  a  useful  mordant  for  3.    Greenish  Yellow 

~\T  O  ^T\ 

most  vegetable  dyes.     When  alum  is  used  it  must  n  •  •  '  '  '  , '  '  '  ; o~  ^T' 

be  boiled  in  order  to  become  thoroughly  dissolved.  F      h    Id  Iks 

All  goods  must  be  wet  before  entering  the  mordant.  Mordant  the  material '  first. '  Boil  the  leaves  1 

If  vitriols  are  used  in  mordanting  they  must  be  hr->  draill)  add  mordanted  material  and  boil  \  to  1  hr. 

placed  in  lukewarm  water  only.     Mordant  materials  4      Str(mg  Greenish  Yellow 

from  1  to  2  hours.  Yarn 250  gr. 

When  mordanting  the  material  should  be  well  Alum  (mordant) 40  gr. 

covered  with  water.  Bayberry  leaves 500  gr. 


Mordant  the  material  first.  Boil  the  fresh 
leaves  2  hr.,  drain  and  add  mordanted  yarn,  boil 
from  1  to  2  hr.  according  to  darkness  of  color  desired. 

5.  Greenish  Yellow 

Yarn 250  gr. 

Dry  birch  leaves 500  gr. 

Alum  (mordant) 32  gr. 

Soak  the  leaves  the  day  before  using. 

Boil  the  soaked  leaves  for  one  hour  and  strain. 
Add  the  alum  to  this  solution  and  boil  yarn  in  it 
from  \  to  1  hr. 

If  the  yarn  is  dried  without  rinsing  and  then 
placed  in  a  weak  birch  ash  lye  the  color  becomes  a 
reddish  yellow. 

6.  Reddish  Yellow 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Dry  apple  bark 250  gr. 

The  material  is  first  mordanted  in  the  alum 
water. 

Cut  the  bark  into  small  pieces  and  soak  the 
day  before  using.  It  is  then  boiled  two  hours  and 
strained. 

Boil  the  mordanted  yarn  in  the  bark  liquid 
from  \  to  1  hr. 

By  using  more  bark  and  boiling  longer  a  darker 
yellow  is  obtained. 

This  color  fades  a  little  if  it  is  not  very  dark. 


185 

7.  Gray  Yellow 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Kinnikinnic 1  kg. 

Chop  the  kinnikinnic  fine  and  boil  for  3  hr. 
Drain  and  boil  the  mordanted  material  in  the  liquid 
from  \  to  1  hr. 

8.  Brownish  Yellow 

Yarn 250  gr. 

Alum  (mordant) 32  gr. 

Alder  bark 2  kg. 

Mordant  the  yarn  in  the  usual  way.  Chop  the 
alder  bark  fine,  and  soak  the  day  before  using.  Boil 
from  2  to  3  hr.,  drain  and  boil  the  yarn  in  the  liquid 
1  hr.  or  longer  according  to  the  depth  of  color  de- 
sired. 

Reds 

9.  Dark  Red 

Yarn 250  gr. 

Alum .65  gr.l    A/r 

Cream  of  tartar 16  |r.f   Mordant 

Madder 250  gr. 

Mordant  the  yarn  for  two  hours  and  let  it  re- 
main in  the  liquid  till  cool,  then  rinse  in  lukewarm 
water. 

The  yarn  may  be  allowed  to  dry  after  removing 
from  the  mordant;  then  it  is  rinsed  in  warm  water 
before  it  is  put  in  the  madder  liquid. 


186 

The  madder  is  put  to  soak  the  day  before  it  is 
to  be  used  in  enough  cold  water  to  make  a  very  thin 
solution. 

If  there  are  hard  lumps  they  must  be  rubbed 
apart  in  order  to  thoroughly  soak.  When  ready  to 
dye  the  soaked  madder  mass  is  put  in  clean  cold 
water  and  when  lukewarm  the  mordanted  yarn  is 
added. 

This  is  heated  slowly  to  60  degrees  or  70  degrees 
Centigrade  or  hot  enough  to  burn  one's  fingers. 
Stir  the  yarn  constantly  and  keep  the  solution  at 
the  same  temperature  as  long  as  the  yarn  is  in  it. 
It  must  not  boil.  If  the  yarn  is  not  stirred  it  becomes 
spotted  as  that  part  of  the  madder  liquid  that  heats 
the  quickest  gives  a  stronger  color  than  the  other. 
The  red  coloring  matter  in  the  madder  dissolves 
without  boiling,  but  with  boiling  the  other  ingredients 
in  the  madder  are  also  dissolved  and  these  cause  the 
red  color  to  lose  its  brightness  and  change  it  to 
brown.  When  the  yarn  has  been  in  the  madder 
liquid  for  the  required  time  it  is  allowed  to  remain 
in  the  solution  until  cool.  Keep  stirring  until  cool. 

It  is  then  rinsed  and  washed  in  several  waters 
to  remove  the  loose  madder. 

When  the  yarn  is  allowed  to  dry  after  being 
mordanted  the  red  color  becomes  a  little  darker. 
All  dark  madder  colors  are  absolutely  fast.  The 
lighter  ones  fade  a  little  as  the  years  go  by. 


10.  Medium  Madder  Red 

Yarn 250  gr. 

Alum-"f+   •• fOgr.j   Mordant 

Cream  ol  tartar 16  gr.J 

Madder 175  gr. 

Treat  the  same  as  No.  9. 

11.  Light  Madder 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Madder 125  gr. 

Mordant  the  yarn  one  hour  and  keep  it  in  the 
warm  color  liquid  from  %  to  1  hr. 

12.  Light  Yellowish  Red 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Madder 75  gr. 

Mordant  as  in  No.  11  but  keep  the  yarn  in  the 
color  liquid  only  f  hr. 

13.  Pale  Red 

Yarn 250  gr. 

Alum  (mordant) 32  gr. 

Madder 25  gr. 

Treat  as  in  No.  12. 

14.  Rose  Red 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Madder 50  gr. 

Mordant  the  yarn  as  usual;  when  cool  wrap 
the  wet  material  in  a  cloth  so  it  does  not  dry  out. 


Allow  it  to  lie  in  this  way  from  6  to  8  days.    It  is 
then  treated  with  madder  as  above  mentioned. 

The  yarn  should  be  squeezed  in  a  little  luke- 
warm water  before  putting  it  in  the  color  liquid. 

15.     Terra  Gotta 

Yarn 250  gr. 

Ah™---:-                       •••  t«gr')   Mordant 
Cream  of  tartar 16  gr.J 

Madder 125  gr. 

Oak  gall 13  gr. 

Mordant  the  yarn  as  usual. 

When  the  madder  liquid  is  lukewarm  add  the 
yarn  and  heat  slowly,  allow  it  to  boil  f  hr.  Remove 
the  yarn  and  to  the  liquid  add  the  finely  powdered 
oak  galls. 

The  yarn  is  again  placed  in  the  color  liquid 
and  boiled  for  \  hr.,  when  it  is  removed  and  allowed 
to  dry. 

If  more  color  is  used  the  yarn  will  be  darker, 
and  if  from  3  to  10  gr.  of  iron  vitriol  is  added  it  be- 
comes browner. 

How  to  Add  Vitriol:  When  this  is  added  the 
yarn  is  first  removed  and  the  vitriol  is  allowed  to 
melt  in  the  boiling  liquid.  This  is  cooled  by  adding 
a  little  cold  water.  The  yarn  is  now  returned  and 
boiled  for  a  few  minutes,  then  it  is  removed,  cooled 
and  rinsed. 

The  lighter  madder  color  may  be  had  by  color- 
ing the  mordanted  yarn  in  the  cool  liquid  left  in 


187 

No.  9,  10  or  11.  These  colors  are  somewhat  more 
of  a  yellowish  color  than  when  fresh  madder  is  used. 

By  using  stronger  or  weaker  mordants  and 
more  or  less  madder  many  colors  not  mentioned  in 
these  recipes  may  be  made. 

It  must  always  be  remembered  that  a  strong 
mordant  is  used  when  a  dark  color  is  desired. 

16.  Cardinal 

Yarn 250  gr. 

Tin 4gr.] 

Nitric  acid 50  gr.  \  Mordant 

Water 150  to  200  gr.J 

Cream  of  tartar 50  gr. 

Cochineal 100  gr. 

The  cream  of  tartar  and  the  cochineal  are 
soaked.  When  the  water  for  the  coloring  is  boil- 
ing add  the  cochineal  and  cream  of  tartar  and  boil 
for  ten  minutes.  Keep  the  liquid  well  skimmed. 
After  the  scum  has  been  removed  add  the  yellowish 
solution  of  tin,  water,  and  acid  and  stir  well.  Put 
in  the  dry  yarn,  turning  it  quickly  around  and  later 
more  slowly.  Boil  from  1  to  l£  hr.,  according  to 
darkness  of  color  desired.  Remove,  cool  and  dry. 

17.  Purple  Red 

Yarn 250  gr. 

Tin 4  gr.] 

Nitric  acid 25  gr.  \   Mordant 

Water 75  to  100  gr.J 


188 

Cream  of  tartar 50  gr.  Cream  of  tartar ..                   16  ST.} 

Cochineal 50  gr.  Alum 8  gr./  Mordant 

Treat  the  same  as  in  No.  16.  Cochineal 16  gr. 

18.  Bright  Red  Mordant  the  yarn   for  2  hrs.   and   cool.     In 

Vo,                                       OKn  fresh  water  put  the  powdered  soaked  cochineal  and 

i  arn zou  gr.  i    -i  j-      •«  i- 

rpjn                                             g  ^r  >  boil  tor  15  minutes. 

Nitric  acid 50  gr.  I   Mordant  The  yam  is  added  and  boiled  for  2  hrs.,  when 

Water 150  to  200  gr.J  it  is  taken  out  and  dried. 

Cream  of  tartar 50  gr.  21      Carmine 

CochlneaL 25  &•  Yarn 250  gr. 

When  the  water  for  the  coloring  comes  to  a  Alum  (mordant)                     40  gr. 

boil,  put  in  the  cream  of  tartar  and  let  it  dissolve;  Mordant  the  yarn  as  usual, 

add  the  cochineal.    Boil  for  10  minutes,  keeping  the  Boil  the  yarn  for  i  hr    in  the  soiution  left  in 

scum  skimmed  from  the  surface  of  the  boiling  mix-  16  or  17     The  color  becOmes  lighter  after  the  use 

ture-  of  No.  17  than  after  No.  16. 

Add  the  yellowish  tin  solution  as  in  No.   17  22     uu  Carmine 

and  put  the  dry  yarn  into  the  boiling  mixture,  turn  '  Yarn                                      250  or 

it  quickly  around  and  later  turn  a  little  more  slowly.  Alum.                                      32  T.'] 

Boil  1  hr.  Cream  of  tartar 32  gr.  j-   Mordant 

19.  Flag  Color  Starch..                           ...   32  gr.J 

v  ocrv  Cochineal 15  gr. 

Yam 250  gr.  Cream  of  tartar 6  gr. 

I  1  Tl  X    D'T* 

AT- .  '.'•';••                             _  A  8  \  Mordant  the  yarn  1  hr. 

Nitric  acid oO  gr.l 

Water 150  to  200  gr.J    Mordant  The  starch  must  be  mixed  with  a  little  cold 

Cream  of  tartar 50  gr.  water  before  it  is  added  to  the  mordant. 

Cochineal 50  gr.  Boil  the  soakecj  cochineal  and  cream  of  tartar 

Treat  the  same  as  in  No.  18.  in  fresh  water  for  15  minutes. 

20.  Dark  Carmine  The  mordanted  yarn  is  boiled  in  this  from  \ 

Yarn 250  gr.  to  1  hr. 


23.  Dull  Carmine 

Yarn 250  gr. 

CreLof  tartar'. '.'.:::::::   32grj   Mordant 

Cochineal 25  gr. 

Madder 20  gr. 

Starch 13  gr. 

Mordant  as  usual. 

Soak  the  cochineal  and  the  madder  together 
and  boil  for  10  minutes. 

Dissolve  the  starch  in  cold  water  and  put  it 
in  before  the  yarn  is  added  to  the  cold  solution, 
boil  from  \  to  1  hr. 

24.  Rose  Red 

Yarn 250  gr. 

Alum  (mordant) 32  gr. 

Boil  \  hr.  in  mordant. 

Boil  \  hr.  in  solution  left  in  17.  If  the  color 
is  to  be  of  a  light  shade  double  the  amount  of  yarn 
or  throw  away  half  the  color  solution  and  add  clear 
water. 

25.  Salmon  Red. 

Yarn 250  gr. 

The  dry  unmordanted  yarn  is  boiled  from  J 
to  5  hr.  in  the  solution  left  in  No.  18  or  No.  19.  If 
more  yarn  is  taken  the  color  becomes  lighter;  it  is 
also  lighter  when  using  No.  18  than  when  using 
No.  19.- 


189 

26.  Red  from  Brazil  Wood 

Yarn 250  gr. 

Alum 40  gr.l 

Cream  of  tartar 16  gr./   Mordant 

Madder 40  gr. 

Brazil  wood 40  gr. 

Potash 7  gr. 

Mordant  as  usual,  after  which  the  yarn  is 
placed  in  madder  solution  as  described  in  No.  9 
and  allowed  to  remain  1  hr.  The  Brazil  wood  which 
has  been  soaked  is  placed  in  a  bag  and  this  is  boiled 
in  clean  water  i  hr.  The  bag  is  now  removed  and 
the  madder  colored  yarn  is  now  boiled  in  this  solu- 
tion from  \  to  1  hr.  Let  it  lie  in  this  solution  till 
cooled  a  little.  Then  it  is  taken  out  and  the  potash, 
which  has  been  well  dissolved,  is  added  to  the  solu- 
tion and  the  yarn  is  re-entered  and  left  for  10  or 
15  minutes.  Allow  the  yarn  to  remain  in  the  solu- 
tion till  cool  and  then  wash  in  strong  soap  suds. 
This  is  an  inexpensive  red  blue  color  but  it  is  not  so 
pretty  as  the  Salmon  Red. 

27.  Red 

Yarn 250  gr. 

Alum..  40gr.|   Mordant 

Cream  01  tartar 16  gr.J 

Bed  straw  roots 250  gr. 

Mordant  the  yarn  from  1  to  2  hrs. 
The  dry  roots  are  ground  or  chopped  fine  and 
put  to  soak. 


190 

During  the  dyeing  the  yarn  is  treated  the  same 
as  was  described  in  No.  9,  for  madder  coloring,  but 
in  this  case  the  yarn  is  boiled  a  little  toward  the  end. 

28.     Dark  Red. 

Yarn 250  gr. 

Ground  pine  (mordant) . . .  250  gr. 
Madder  or  bed  straw 250  gr. 

Mordant  the  yarn  in  ground  pine  in  the  fol- 
lowing way: 

The  ground  pine  is  chopped  fine  and  soaked 
in  as  much  water  as  is  needed  for  the  dyeing.  This 
mixture  is  heated  every  day  and  must  remain  in  a 
warm  place  where  it  can  be  kept  lukewarm.  After 
3  or  4  days  it  acquires  a  sour  smell.  Boil  well  and 
strain.  As  it  boils  add  a  little  water.  In  this  strained 
solution  put  the  wet  yarn  and  heat  every7  day  for 
three  or  four  days  and  let  it  stand  in  a  warm  place. 
The  last  day  boil  well. 

The  yarn  will  then  have  a  light  yellowish, 
green  gray  color  and  a  sour  smell. 

The  yarn  is  now  rinsed  and  allowed  to  dry  be- 
fore it  is  colored  red. 

The  madder  is  prepared  as  described  in  No.  9. 
Before  the  yarn  is  put  into  the  red  dye  it  must  be 
well  squeezed  in  warm  water. 

The  Preparation  of  Olium 

The  Norwegians  succeed  in  getting  most  beauti- 


ful shades  of  blue  through  the  use  of  what  they  call 
Olium,  which  is  made  in  the  following  way : 

Indigo  is  dissolved  with  sulphuric  acid  by  mixing 
15  gr.  powdered  indigo  with  125  gr.  of  smoking  sul- 
phuric acid.  Put  about  10  gr.  of  sulphuric  acid  and 
a  little  indigo — say  2  gr. — in  a  glass  jar  or  bottle 
with  a  well  fitting  stopper.  Stir  this  till  it  is  smooth. 
Use  a  glass  rod,  or  if  necessary  a  hardwood  stick. 
Metal  must  not  be  used.  After  this,  put  a  little  of 
each  into  the  jar  and  stir,  and  so  continue  until  all 
has  been  used.  Put  stopper  firmly  in  bottle  and  al- 
low the  mixture  to  stand  at  least  24  hours  before 
using. 

When  using,  weigh  or  measure  the  Olium  in 
a  dry  glass  and  pour  carefully  into  cold  water  be- 
fore placing  in  the  dye.  Never  pour  water  into  the 
Olium,  as  it  effervesces  and  may  injure  the  eyes. 
When  the  Olium  is  kept  in  an  air  tight  bottle,  it 
may  be  kept  for  a  long  time. 

All  the  recipes  for  blue  which  follow,  are  based 
on  Olium  measured  in  a  graduated  glass.  If  weighed, 
take  double  as  many  grams.  If  the  sulphuric  acid 
is  poor,  the  indigo  will  not  dissolve,  and  the  color 
will  run.  To  prove  that  the  indigo  is  well  dissolved, 
take  a  few  drops  of  the  Olium,  mix  with  water,  and 
strain  through  a  filtering  paper.  If  the  filtered  dye 
is  still  blue,  then  the  indigo  has  been  properly  dis- 
solved, but  if  not,  the  dye  will  be  white  or  light  blue. 


When  Olium  is  to  be  used  in  dyeing,  it  should 
be  measured  or  weighed  in  a  dry  glass,  as  before 
described,  and  dropped  or  poured  slowly  into  the 
lukewarm  water  and  well  stirred. 

If  the  color  is  too  light,  more  Olium  may  be 
added,  but  some  of  tho  boiling  dye  liquid  must  be 
thrown  away,  and  the  remainder  mixed  with  cold 
water  before  the  Olium  is  added.  If  the  liquid  is 
too  warm,  when  the  goods  is  put  in,  it  becomes 
streaked  or  clouded,  even  though  it  has  been  dyed 
previously.  As  soon  as  the  yarn  has  been  boiled  in 
the  dye,  it  will  be  seen  whether  it  is  too  light  as  by 
that  time  all  dye  will  have  been  drawn  into  the 
goods.  If  in  the  heating,  it  is  getting  too  dark,  a 
part  of  the  liquid  is  thrown  out  and  the  remainder 
lightened  with  water  before  continuing  the  dyeing. 
When  dyeing  with  Olium,  the  liquid  must  only  be 
lukewarm  when  the  goods  is  put  in  and  it  must  be 
quickly  stirred  and  kept  in  constant  motion  until  it 
boils. 

By  using  more  or  less  Olium,  many  color  shades 
and  tints  in  blue  may  be  obtained  by  using  the 
following  recipes.  Blue  Dyes 

29.     Dark  SoWier  Blue 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium 20  to  30  gr. 

The-  yarn  is  mordanted  as  usual,  and  is  then 
dyed  red  in  the  used  liquid  remaining  after  dyeing 

13 


191 

cochineal  red.  Dry  the  yarn.  Add  10  gr.  Olium  to 
clear  lukewarm  water,  and  stir  well.  Add  the  red 
dyed  yarn  which  has  first  been  dipped  in  warm  water 
and  heat,  stirring  constantly;  boil  for  £  hr.  and  dry. 
When  dry,  it  is  again  wrung  in  warm  water  so  that  it 
becomes  thoroughly  wet.  To  the  new  lukewarm 
water,  is  added  10  gr.  Olium  and  the  yarn  is  again 
dyed  as  at  first.  Boil  1  hr.  and  dry.  If  one  desires 
the  yarn  still  darker,  the  dyeing  must  be  repeated 
with  10  gr.  Olium.  When  the  dyeing  is  completed, 
it  must  be  dried  before  washing. 

If  there  is  no  red  liquid  which  has  been  used, 
the  yarn  must  be  mordanted  as  No.  21,  and  a  dye 
liquid  made  of  cochineal  (10  to  .15  gr.).  For  the 
rest,  handle  as  above. 

The  darker  the  blue  that  is  wanted,  the  darker 
must  be  the  red  of  the  under  dye,  with  the  cor- 
responding amount  of  Olium  added. 

30.    Light  Soldier  Blue 

Yarn 250  gr. 

Alum ,75  gr.\    A/r 

Olium ISgr.j   Mordant 

Madder 5  gr. 

Olium 10  gr. 

The  yarn  is  mordanted  as  usual.  Fresh  water  is 

added  to  the  soaked  madder,  and  in  this  the  yarn  is 

dyed  red  as  in  No.  23,  and  then  dried. 

The  Olium  is  added  to  lukewarm  water  and 

well  stirrod.    The  red  dyed  yarn  is  added.    (The  yarn 


192 

must  first  be  wrung  out  of  warm  water.)    It  is  then  water  to  the  liquid  to  make  it  lukewarm  and  add  the 

heated  slowly,  stirred  constantly  and  boiled  1  hr.  dissolved  madder  and  stir  well.    Add  the  yarn  and 

Handle  as  above.  heat  slowly,   stirring  constantly  and  evenly.     Boil 

It  may  also  be  dyed  red  in  used  madder  liquid.  ^  hr.,  then  cool,  rinse  and  wash. 

31.  Greenish  Blue  33.    Bright  Medium  Blue. 

Yarn 250  gr.  Yarn 250  gr. 

Alum  (mordant) 40  gr.  Alum  (mordant) 40  gr. 

Olium 8  gr.  Olium 5  gr. 

When  the  yarn  has  been  mordanted,  it  is  dyed  The  yarn  is  mordanted  and  dyed  as  above, 

light  yellow  in  one  of  the  used  yellow  dye  liquids.  When  it  is  through  boiling  in  the  dye  liquid  the 

It  is  wrung  out  of  this  and  then  dyed  blue  as  above,  yarn  is  cooled,  rinsed  and  washed. 

If  a  paler  dye  is  wanted,  add  5  gr.  of  iron  sulphate  „.      Liaht  Blue 

after  it  has  been  dyed  blue,  and  boil  10  to  15  minutes.  Yarn                                      250  gr. 

It  may  now  be  washed  without  first  drying.  Alum  (mordant) 30  gr. 

Goods  dyed  with  iron  sulphate  must  be  left  Handle  the  same  as  above, 

well  covered  by  the  dye  until  cool,  unless  they  are  35      Water  Blue 

constantly  stirred  in  the  dye.     This  liquid  forms  a  Yarn 250  gr. 

crust  on  the  surface  in  the  cooling  which  spots  the  Alum  (mordant) 30  gr. 

goods  or  yarn  near  the  surface.  Olium 5  to  10  drops 

32.  Dull  Medium  Blue  Handle  as  above. 

Alum  (mordant)                     40  gr.  Tne  lighter  colors  with  Olium  are  not  abso- 

Olium 8  gr.  lutely  fast.     They  become  slightly  greenish  after 

Madder 15  gr.  being  used  and  cannot  be  washed  in  soda  water. 

The  yarn  is  mordanted  as  usual.    Some  of  the  3g      D(jrk  Blue  w{th  GrQund  pine 

mordant  water  is  thrown  away  and  enough   cold  Yarn                                      250  gr. 

water  is  added  to  make  the  liquid  lukewarm.      Add  Ground  pine 250  gr. 

the  Olium,  stir  well,  put  in  the  yarn  and  heat  slowly,  Logwood 100  gr. 

stirring  constantly.  The  ground  pine  is  chopped  fine  and  soaked 

Boil  |  hour  and  take  out.     Add  enough  cold  in  as  much  water  as  is  needed  for  the  dyeing.    The 


whole  is  heated  daily  and  is  placed  where  it  can  be 
kept  lukewarm.  When  after  three  or  four  days  it 
has  acquired  a  sourish  odor,  it  should  be  well  boiled 
and  strained.  The  water  will  diminish  in  the  boil- 
ing, therefore  sufficient  water  must  be  added  so  that 
there  is  enough  for  dyeing.  When  the  ground  pine 
has  been  strained,  the  wet  yarn  is  placed  in  the 
liquid  and  heated  every  day  for  three  or  four  days 
and  kept  in  a  warm  place.  The  last  day  it  is  boiled; 
the  yarn  should  then  have  a  light,  yellowish,  green 
gray  color  and  a  sour  odor. 

The  logwood,  which  was  put  to  soak  the  day 
before,  is  placed  in  a  bag  and  boiled  in  clear  water 
I  hr.  and  then  removed.  The  yarn  is  now  wrung 
out  of  the  ground  pine  liquid  and  boiled  in  the  log- 
wood liquid  |  to  1  hr.  It  is  then  taken  out  and  dried. 
When  dry,  place  it  for  several  hours  in  a  weak  birch 
ash  lye  and  wash.  The  lye  is  made  by  putting  the 
ashes  in  warm  water. 

With  more  logwood,  a  darker  color  is  obtained. 

This  color  is  fast  for  covering  but  should  not 
be  used  for  finer  covers  or  rugs.  In  time  it  becomes 
slightly  grayish  in  color. 

37.     Dark  Blue  with  Chickweed 

Yarn 250  gr. 

Fresh  chickweed 1  pail 

Alum  (mordant) 32  gr. 

tlogwood 50  gr. 


193 

The  chickweed  is  boiled  1  hr.  and  drained. 
The  alum  is  added  to  the  liquid,  and  well  stirred. 
The  wet  unmordanted  yarn  is  taken,  and  added  to 
the  liquid  and  boiled  1  hr.  and  taken  out.  A  small 
bag  filled  with  the  soaked  logwood  is  boiled  in  the 
liquid  \  hr. 

Add  the  yarn  and  let  it  boil  1  hr.  with  the  log- 
wood bag. 

The  yarn  lies  in  the  liquid  until  cold. 

If  a  darker  dye  is  wanted,  use  more  logwood. 

Green  Dyes 

The  pure  green  colors  are  always  composed  of 
a  yellow  and  blue  dye  stuff.  These  are  mostly  made 
by  first  dyeing  the  goods  blue,  and  then  boiling  it 
in  a  yellow  dye.  To  obtain  a  dark  green  the  blue 
foundation  must  be  made  dark  enough  the  first  time. 
No  amount  of  boiling  in  the  yellow  dye  will  make  the 
goods  darker.  By  adding  madder  or  iron  sulphate, 
the  green  will  become  darker  but  it  is  another  tone, 
gray  or  brownish. 

Certain  plants  give  a  green  dye  without  using 
blue.  The  yellow  dye  in  these  plants  will,  by  the 
addition  of  an  iron  or  copper  salt,  become  green, 
but  the  yarn  will  have  a  shade  of  gray  or  brown. 

Green   with  Birch  Leaves 

For  these  dyes,  both  fresh  and  dried  leaves  may 
be  used.  Three  kg.  fresh  leaves  make  1  kg.  dried 
leaves. 


194 


We  must  therefore  count  on  using  three  times 
as  much  fresh  leaves  as  dried  in  the  dyeing.  The 
recipes  are  made  on  the  basis  of  dried  leaves.  The 
leaves  are  soaked  the  day  before  and  are  boiled  in 
enough  water  to  make  the  necessary  dye  liquid  and 
are  then  strained.  The  boiling  is  done  so  that  all 
dye  material  in  the  leaves  may  be  had.  After  strain- 
ing, the  leaves  are  rinsed  with  a  little  clear  water, 
and  this  is  added  to  the  liquid  which  is  cooled 
while  one  is  dyeing  the  yarn  blue. 

The  yarn  is  mordanted  with  the  amount  of 
alum  called  for  in  the  recipe. 

When  dyeing  blue,  throw  out  half  the  mordant 
water  and  add  clear  cold  water  and  the  proper 
amount  of  Olium. 

Olium  is  measured  in  a  graduated  glass  or  is 
dropped  (counting  the  drops)  carefully  into  the  water 
which  has  been  heated  to  about  20°  C,  and  is  well 
stirred.  The  wet,  well  wrung  yarn,  already  mor- 
danted, is  placed  immediately  in  the  lukewarm 
blue  liquid.  It  is  stirred  and  turned  quickly  around 
with  a  stick.  This  is  kept  up  constantly  and  while 
the  liquid  is  slowly  boiling.  By  that  time,  all  the 
dye-stuff  will  have  been  absorbed  by  the  yarn  and 
it  may  be  left  to  boil  slowly  \  hr. 

Unless  one  is  exceedingly  careful  in  the  blue  dye- 
ing, the  yarn  becomes  clouded  and  this  cannot  be 


corrected  later,  but  becomes  more  noticeable  when 
dyed  green. 

When  the  yarn  has  been  dyed,  it  is  cooled  in 
the  liquid  before  it  is  taken  out.  It  is  then  well  wrung, 
put  again  on  the  stick  and  placed  in  the  milk-warm, 
(about  30°  C,)  birch-leaf  liquid.  It  is  constantly 
turned  and  kept  in  slow  motion  until  through 
boiling.  The  longer  it  is  kept  in  the  birch-leaf 
liquid,  the  stronger  the  green  color.  It  should  not 
boil  more  than  1  hr.  If  the  yarn  is  not  dark  enough, 
due  to  poor  leaves,  it  must  be  boiled  for  half  an  hour, 
in  new  birch-leaf  dye  after  having  been  dried.  It 
must  be  thoroughly  wet  in  warm  water  before  being 
placed  in  the  new  dye.  The  goods  is  allowed  to  lie 
in  the  dye  until  cold  unless  the  color  is  becoming  too 
strong.  In  that  case,  it  is  taken  up  at  once  and 
cooled.  The  color  is  intensified  by  having  the  ma- 
terial lie  in  the  warm  dye  until  it  is  cold. 

If  there  are  to  be  several  dyes  in  green,  these 
can  well  be  boiled  in  the  same  birch-leaf  dye.  It  is 
necessary  to  calculate  in  advance  the  proper  amount 
of  leaves  and  to  make  up  separately  the  blue  dyes. 

If  the  birch-leaf  dye  is  to  be  used  for  after- 
dyeing,  it  must  be  cooled  before  new  yarn  can  be 
placed  in  it. 

The  dull  blue  green  dyes  may  also  be  boiled  in 
the  same  birch-leaf  dye  that  the  light  fresh  green 
colors  were  boiled. 


42. 


For  the  light  after-dyes,  add  to  the  cooled  dye        41 
1  to  5  drops  Olium,  if  only  light  colors  have  been 
boiled  in  it  and  it  contains  no  blue. 

Whenever  dark  dyed  blue  has  been  boiled  in 
the  birch  leaf,  some  of  the  blue  remains. 

Yarn  and  cloth  are  handled  in  the  same  way, 
with  the  exception  that  wool  is  to  be  boiled  slowly, 
while  cloth  is  boiled  quickly  and  kept  in  constant 
motion. 

Variations  of  the  birch-leaf  dyeing  are  endless 
among  the  following  recipes: 

38.  Dark  Blue  Green  No.  1 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 5  gr. 

Birch  leaves 1  kg.  43. 

Boil  in  birch-leaf  liquid  |  to  1  hr.  according 
as  a  more  or  less  blue-green  color  is  desired. 

39.  Dark  Blue  Green  No.  2 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 3  gr.  44. 

Birch  leaves 1  kg. 

Boil  in  birch-leaf  liquid  1  hr. 

40.  Medium  Blue  Green 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 2  gr.  45. 

Birch  leaves 750  gr. 

Boll  in  birch-leaf  dye  1  hr. 


195 


Light  Blue  Green 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 1  gr. 

Birch  leaves 500  gr. 

Boil  in  birch-leaf  dye  \  to  1  hr. 


11  kg. 


Dark  Strong  Green 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 3  gr. 

Birch  leaves 

Boil  in  birch-leaf  dye  1  hr. 

If  the  dye  is  not  green  enough,  dry  the  yarn 
and  boil  again  in  a  new  strong  birch-leaf  dye  \  to 
Ihr. 

Bright  Medium  Green 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 1  gr. 

Birch  leaves 1  kg. 

Boil  in  birch-leaf  dye  %  to  1  hr. 

Light  Green 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 1  gr. 

Birch  leaves 1  kg. 

Boil  in  birch-leaf  dye  \  to  1  hr. 

Yellow  Green 

Yarn 250  gr. 

Alum  (mordant) 30  gr. 


196 

Olium  (blue  dye) 15  drops 

Birch  leaves 1  kg. 

Boil  in  birch-leaf  dye  \  to  1  hr. 

46.  Dull  Grass  Green 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 1|  gr. 

Birch  leaves 1  kg. 

Iron  sulphate 2  to  5  gr. 

Boil  in  birch-leaf  dye  1  hr. 

When  the  yarn  has  boiled  in  the  birch-leaf  dye, 
it  is  taken  out  of  the  liquid  and  the  iron  sulphate  is 
added  and  stirred  well.  The  liquid  is  cooled  with  a 
little  cold  water,  the  green  dyed  yarn  put  in  again 
and  is  boiled,  stirring  constantly  for  10  or  15  minutes. 

The  yarn  must  not  lie  in  this  liquid,  but  must 
be  taken  out  as  soon  as  boiled. 

47.  Gray  Green 

Yarn 250  gr. 

Olium  (blue  dye) 2  gr. 

Birch  leaves 1  kg. 

Common  madder 25  gr. 

Iron  sulphate  vitriol 4  gr. 

Boil  in  birch-leaf  1  hr.  and  then  take  out. 
Cool  the  liquid  and  add  the  25  gr.  soaked  madder. 
Place  the  yarn  in  the  cooled  liquid  and  let  it  boil 
J  hr.,  take  it  out,  add  the  iron  sulphate,  cool,  put  in 
the  yarn,  and  boil  \  hr. 

Handle  as  above. 


48.  Pale  Blue  Green 

Yarn 250  gr. 

Alum  (mordant) 30  gr. 

The  mordanted  yarn  is  placed  in  the  cooled 
after-dye,  of  No.  50,  and  slowly  heated  to  the  boiling 
point.  Boil  \  to  1  hr. 

49.  Pale  Yellow  Green 

Yarn 250  gr. 

Alum  (mordant) 30  gr. 

Boil  in  the  same  manner  as  suggested  in  No. 
40,  42  and  43. 

50.  Olive  Green  with  Heather 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Fresh  heather  tops 1  to  2  kg. 

Chop  the  heather  and  soak  and  then  boil  4 
hrs.  in  a  polished  iron  kettle.  When  the  liquid  is 
put  back,  the  yarn  is  boiled  slowly  1  to  2  hrs.  ac- 
cording to  the  darkness  of  color  desired.  Let  it  lie  in 
the  dye  till  cool,  but  it  must  be  stirred  occasionally. 
If  the  liquid  is  allowed  to  form  a  crust,  this  will 
spot  the  yarn. 

51.  Gray  Green  with  Bayberry 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Dried  bayberry  leaves  . . .  .500  gr. 
Iron  sulphate 10  to  20  gr. 

Soak  the  bayberry  leaves  and  boil  2  hrs.  The 
mordanted  yarn  is  boiled  in  the  strained  liquid  for 


197 


1  hr.  and  is  then  taken  out.  Add  the  iron  sulphate 
and  when  this  is  dissolved  add  a  little  cold  water. 
Place  the  yellow  dyed  yarn  in  the  cooled  liquid,  heat 
slowly,  stirring  constantly  and  let  it  boil  5  to  10 
minutes.  Take  it  out  and  cool. 

52.  Myrtle  Green 

Yarn 250  gr. 

Potassium  chromate. ...         4  gr.) 

Cream  of  tartar 4  gr.j 

Mulberry  wood 90  gr. 

Logwood 25  gr. 

The  potassium  chromate  and  the  cream  of 
tartar  are  dissolved  in  boiling  water,  and  enough 
cold  water  added  to  make  the  liquid  lukewarm. 
Place  the  wet  yarn  in  this  and  heat  slowly,  stir,  boil 
one  hour  and  let  it  lie  in  this  mordant  until  cold. 
Rinse  in  clear  water  before  placing  in  the  dye.  The 
mulberry  and  logwood  are  put  to  soak  the  day 
previous.  They  are  put  in  a  bag  and  boiled  in  clear 
water  2  hrs.  Take  out  the  bag  and  boil  the  wet 
mordanted  yarn  in  this  dye  2  hrs.  If  there  is  room 
in  the  kettle,  time  may  be  saved  by  boiling  the  yarn 
with  the  bag  the  last  hour.  If  more  logwood  is  used, 
the  color  will  be  darker — less  logwood  makes  it 
lighter. 

53.  Dark  Grass  Green. 

Yarn 250  gr. 

-Mulberry 80  gr. 


Alum. 40  gr. 

Olium 10  gr. 

The  mulberry  wood  is  put  to  soak  the  day 
before,  boiled  1  hr.  and  strained.  In  the  strained 
liquid,  dissolve  the  alum  and  when  the  liquid  is  milk 
warm,  add  the  Olium.  It  is  all  well  stirred.  The 
wet  mordanted  yarn  is  put  in  and  stirred  constantly. 
Heat  slowly  and  boil  1  hr.  The  yarn  is  left  in  the 
dye  until  cold. 

54.    Olive  Green. 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 5  gr. 

Mulberry 62  gr. 

Tameric  Acid 40  gr. 

Madder 13  gr. 

Iron  sulphate 3  gr. 

The  yarn  is  mordanted  and  dyed  blue,  just  as 
is  done  in  birch-leaf  dyeing.  The  mulberry  having 
been  soaked,  is  put  in  a  bag  and  boiled  in  clear 
water  1  hr. 

Take  out  the  bag  and  add  the  tameric.  Boil 
before  putting  in  the  blue-dyed  yarn,  which  must 
not  be  cooled  too  much.  When  it  has  boiled  1  hr. 
in  the  yellowish  liquid,  it  is  taken  out.  The  dye  is 
cooled  with  cold  water  to  about  40°  C,  and  the 
soaked  madder  is  added.  Put  the  yarn  in  again  and 
slowly  heat  to  boiling.  Boil  \  hr. 

Dissolve  the  iron  sulphate  and  add  it  to  the 


198 

cooled  liquid,  after  taking  out  the  yarn.  Stir  well. 
Put  yarn  back  and  boil  for  \  to  \  hr.  Take  out  im- 
mediately and  cool. 

With  more  madder,  the  color  becomes  browner, 
with  less,  more  green.  More  iron  sulphate  makes 
it  duller.  If  the  madder  is  omitted,  the  color  be- 
comes a  pure  green. 

These  colors  are  not  durable.  In  time  they  be- 
come brown  or  grayish. 

Violet  Dyes 

Violet  dyes  are  compounded  of  blue  and  red. 
As  a  rule,  indigo,  cochineal  and  madder  are  used. 
The  colors  made  by  these  dye  stuffs  are  fast  when 
they  are  not  too  light  in  color. 

With  cochineal,  the  color  becomes  a  pure  violet, 
with  more  or  less  red  according  to  the  proportion  of 
blue  and  red  dye.  With  madder  and  cochineal, 
the  color  is  more  brownish  or  plum  color.  The 
depth  of  the  color  is  much  affected  by  the  quality 
of  the  wool  according  as  it  is  coarse  or  fine.  The 
latter  becomes  the  darker. 

Light  violet  dyes  become  dull  and  not  satis- 
factory in  coarse  or  hard  cloth.  The  finer  dye 
shades  require  soft  wool. 

By  using  different  kinds  of  mordant,  violet 
shades  may  be  obtained  from  the  blue  dye  in  log- 
wood. 


These  colors  are  not  as  pretty  or  fast  as  the 
others  above  mentioned. 

Violet  with  Cochineal 

For  violet,  the  yarn  must  first  be  dyed  blue, 
then  red. 

The  yarn  is  done  in  the  same  manner  as  for 
green.  When  the  yarn  has  been  boiled  in  the  blue 
dye,  it  is  dried  without  rinsing. 

Cochineal  is  powdered  fine  and  put  to  soak  the 
day  before  doing  the  red  dyeing.  It  is  then  put  in 
clear  water,  boiled  for  ten  minutes  and  well  skimmed. 
Lay  the  dry  blue-dyed  yarn  in  the  boiling  dye,  turn 
it  around  quickly  so  that  it  gets  wet,  and  boil, 
stirring  constantly  for  the  required  time;  then  take 
it  out  and  cool  before  washing. 

.  If  the  color  does  not  seem  to  be  red  enough, 
the  yarn  may  be  left  in  the  dye  until  cold.  This 
will  help  with  colors  which  have  a  very  dark  blue 
ground.  In  that  case,  add  a  little  more  soaked 
cochineal  and  let  the  yarn  boil  longer. 

If  the  color  is  redder  than  desired,  boil  the  yarn 
a  shorter  time  in  the  red  dye,  but  not  less  than 
half  an  hour. 

If  the  foundation  blue  color  is  too  light,  this 
cannot  be  remedied  after  the  yarn  has  been  in  the 
cochineal  dye. 


Among  the  following  recipes  are  many  possi- 
bilities by  varying  the  relation  between  Olium  and 
cochineal. 

55.  Dark  Black  Violet 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 10  gr. 

Cochineal 50  gr. 

Mordant  the  yarn  as  usual  and  dye  blue. 
When  dry,  boil  1  hr.  in  cochineal  dye. 

56.  Dark  Blue  Violet 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 5  gr. 

Cochineal 25  gr. 

Handle  as  No.  55. 

57.  Medium  Blue  Violet 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 3  gr. 

Cochineal 15  gr. 

Handle  as  above  but  boil  ^  to  1  hr. 

58.  Blue  Violet 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 50  drops 

Cochineal 5  gr. 

Handle  as  above. 


199 

59.  Light  Blue  Viokt 

Yarn 250  gr. 

Alum  (mordant) 32  gr. 

When  the  yarn  has  been  mordanted,  boil  for 
^  hr.  in  the  after  color  of  No.  56. 

60.  Dark  Red  Violet 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 4  gr. 

Cochineal 40  gr. 

The  yarn  is  mordanted  and  dyed  blue  as  the 
former  have  been  and  is  boiled  in  the  red  dye  \  to 
1  hr.  according  to  the  redness  required. 

61.  Indian  Red  Violet 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 2  gr. 

Cochineal 20  gr. 

Handle  as  above. 

62.  Bright  Red  Violet 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 30  drops 

Cochineal 10  gr. 

Handle  as  above. 

63.  Light  Red  Viokt 

Yarn 250  gr. 

Alum  (mordant) 32  gr. 

Handle  as  No.  59  and  boil  in  the  red  after- 
dye  of  No.  60  or  No.  61. 


200 

Violet  with  Cochineal  or  Madder 

When  madder  is  to  be  used  with  cochineal  for 
red  dyeing  of  violet,  both  ingredients  must  be 
soaked  separately. 

Cochineal  is  boiled  as  usual  10  minutes,  and 
the  liquid  is  cooled  with  cold  water  and  the  madder 
is  added. 

The  dry  blue  yarn  must  first  be  squeezed  in 
warm  water  so  that  it  is  wet  before  it  is  placed  in  the 
milk-warm  red  dye.  In  this  it  is  heated  and  kept 
near  the  boiling  point,  80°  to  90°  C,  for  1  hr. 

If  the  color  is  wanted  more  brown,  let  the  yarn 
boil  in  the  red  dye. 

64.  Very  Dark  Brown  Violet 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 8  gr. 

Cochineal 5  gr. 

Madder 25  gr. 

Mordant  the  yarn  as  usual,  and  dye  blue  as  in 
the  case  of  former  blue  violet  dyes. 

65.  Plum  Color 

Yarn 250  gr. 

Alum  (mordant) 50  gr. 

Olium  (blue  dye) 3  gr. 

Cochineal 5  gr. 

Madder 20  gr. 

Handle  as  above  described. 


66.  Light  Brown  Violet 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Olium  (blue  dye) 1  gr. 

Cochineal 2  gr. 

Madder .    15  gr. 

Handle  as  before. 

In  all  these  red  after-dyes,  many  violet  shades 
may  be  dyed  according  as  the  liquid  is  dark  or  light, 
more  or  less  red  or  blue.  A  little  of  the  blue  dye 
will  always  be  left  in  the  red  dye. 

The  yarn  for  these  after-dyes  is  mordanted  as 
usual  and  is  boiled  in  the  cooled  red  liquid.  It  may 
also  be  dyed  light  blue  so  that  the  red  becomes  the 
chief  color. 

67.  Blue  Violet  with  Ground  Pine 

Yarn 250  gr. 

Ground  pine 250  gr. 

Logwood 50  gr. 

Mordant  and  dye  as  No.  36. 

68.  Blue  Violet  with  Chickweed 

Yarn 250  gr. 

Chickweed 1  pail 

Logwood 30  gr. 

Alum  (mordant) 32  gr. 

Mordant  and  dye  as  No.  37. 

Brown  Dyes 

Brown  is  obtained  by  mixing  yellow,  red  and 
black  dyestuffs. 


Several  brown  dyestuffs  are  found  complete  in 
certain  barks  and  roots  and  in  a  number  of  lichens. 
From  herbs  and  leaves,  brown  is  seldom  obtained. 

To  bring  out  the  brown  colors,  a  copper  or 
iron  salt  must  often  be  added  to  the  yellow  or  red 
dyestuff.  When  these  salts,  such  as  iron  or  copper 
vitriol,  are  added,  they  must  be  well  dissolved  and 
the  dye  must  be  cooled  before  the  goods  is  put  back 
in  the  liquid. 

In  all  dye  to  which  iron  or  copper  vitriol  is  ad- 
ded, the  goods  must  not  lie  still  after  it  is  through 
boiling.  It  is  best  to  take  it  out  immediately,  cool 
quickly  and  rinse  in  clean  water  until  it  is  washed. 

A  dark  scum  will  always  form  on  the  dye  when 
it  cools  and  this  will  spot  the  goods.  The  same  effect 
will  be  had  also  if  the  dye-stuff  is  allowed  to  run 
down  a  part  of  the  goods  after  being  hung  up. 

69.     Yellow  Brown  with  Bayberry  Leaves 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Bayberry  leaves  (dried) . . .  750  gr. 

The  yarn  is  mordanted  and  dyed  as  for  yellow 
(see  No.  4)  and  is  taken  out  and  15  to  30  gr.  copper 
sulphate  is  added.  Boil  the  yarn  |  to  1  hr. 

If  a  very  dark  color  is  desired,  let  it  boil  again 
in  the  same  or  a  new  dye.  The  yarn  must  be  dried 
between  each  dyeing  just  as  in  the  heather  dyeing. 
This  is-'a  very  fast  color. 


201 

70.  Yellow  Brown  with  Alder  Bark 

Yarn 250  gr. 

Alum 32  gr. 

Alder  bark  (dry) 5  kg. 

The  yarn  is  mordanted  and  dyed  like  the  yellow 
with  alder  bark  (see  No.  8).  But  it  is  boiled  in  the 
liquid  1  to  2  hrs.  and  left  until  cold.  If  wanted  still 
darker  it  may  be  dried  and  boiled  again  in  new  alder 
bark  dye.  This  color  darkens  in  time. 

71.  Bronze  Brown  with  Buckthorn  Bark. 

Yarn 250  gr. 

Dry  bark 500  gr. 

Alum 35  gr. 

Chop  the  bark  fine,  soak  and  boil  3  hrs.  To  the 
strained  liquid,  add  the  alum  and  when  it  is  dis- 
solved, the  dry  unmordanted  yarn  is  laid  in  the 
boiling  dye.  Boil  in  this  1  to  2  hrs.,  and  let  it 
remain  until  cold. 

72.  Bronze  Brown  with  Walnut  Leaves 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Fresh  walnut  leaves 1  kg. 

Boil  leaves  1  hr.  and  strain. 

The  mordanted  yarn  boils  in  the  dye  1  to  2 
hrs.  and  is  left  till  cold. 

73.  Olive  Brown  with  Juniper  Berries 

Yarn 250  gr. 


A/r     , 
Mordant 


202 

Alum  .......  ............   32  gr.l 

Cream  of  tartar  .....  18  ST. 

Copper  sulphate  ..........   18  |r. 

Ammonia  chloride  ........    13  gr.J 

Juniper  berries  .........  1  to  2  liter 

Copper  acetate  ...........    16  gr. 

The  mordants  are  dissolved  in  boiling  water  and 
stirred.  Put  in  the  yarn  and  boil  one  hour  and  leave 
until  cold. 

The  dry,  ripe  berries  are  broken,  put  to  soak 
and  boiled  one  hour  in  clear  water.  Put  in  the 
mordanted  yarn  and  let  it  boil  with  the  berries  1  to 
2  hrs.  and  then  take  out.  Strain  the  liquid  and 
add  the  copper  acetate.  Boil  the  yarn  again  \ 
to  \  hr. 

74.  Light  Red-Brown  with  Gray  Stone  Lichens 

Yarn  ...................  250  gr. 

Dry  lichens  ..............      1  kg. 

Crush  fine  the  lichens  and  soak  over  night,  and 
then  boil  in  a  copper  kettle  in  a  reasonable  amount 
of  water.  Boil  the  unmordanted  yarn  in  this  \  to 
2  hrs.  As  this  dye  becomes  very  thick,  the  yarn  must 
be  stirred  constantly.  The  hanks  must  be  hung  far 
apart  and  be  well  shaken.  This  color  becomes 
clouded  easily  unless  this  is  done. 

A  fast  brown  color  is  the  result. 

75.  Dark  Reddish  Brown  with  Stone  Lichens 

Yarn  ...................  250  gr. 

Lichens  ..............  1  to  1|  kg. 


Crush  fine  the  stone  lichens  and  strew  well  be- 
tween the  yarn  which  is  laid  in  layers  with  the 
lichens  in  an  iron  kettle.  The  yarn  must  be  well 
covered  and  some  large  pieces  of  lichens  placed  be- 
tween each  layer  of  yarn.  The  yarn  must  be  wet 
when  laid  down.  Pour  on  cold  water.  Let  it  soak 
a  few  hours  before  boiling.  Boil  slowly  and  evenly 
2  to  6  hrs. 

If  the  yarn  is  to  be  very  dark,  it  must  be 
treated  again  with  new  lichens  and  in  the  same  man- 
ner. If  one  has  some  used  madder  dye,  this  may  be 
used  instead  of  water.  Wool  may  be  dyed  in  the 
same  manner.  This  is  more  easily  dyed  but  the 
yarn  is  apt  to  be  clouded  unless  one  is  very  careful. 
It  must  have  plenty  of  room. 

76.  Dark  Greenish  Brown  with  Tree  Lichens  or  Moss 

Yarn 250  gr. 

Lichens 1  to  1|  kg. 

This  color  is  handled  as  above. 

77.  Light  Brown  with  Iceland  Moss. 

Yarn 250  gr. 

Moss 250  gr. 

Clean,  rinse  and  chop  the  moss  fine.  This  is 
placed  between  the  layers  of  yarn  in  a  kettle.  The 
yarn  must  be  well  covered  with  moss.  Pour  on  water 
and  boil  1  to  2  hrs.,  or  longer.  The  yarn  may  also 
be  hung  on  sticks  and  boiled  with  the  moss  like  the 
light  yellow  brown  with  stone  lichens. 


78.  Dark  Brown  with  Iceland  Moss 

Yarn 250  gr. 

Moss 500  to  750  gr. 

Cooking  salt 50  gr. 

The  moss  is  handled  as  above  and  laid  in  layers 
with  the  yarn  in  an  iron  kettle. 

Strew  the  salt  between,  and  pour  on  water  and 
keep  warm  and  boil  for  48  hrs.  It  may  stand  in  an 
oven  or  on  a  heating  stove. 

Handle  afterwards  like  the  other  lichen  colors. 
If  one  has  not  enough  lichens,  the  color  may  be 
darkened  by  adding  iron  sulphate  to  the  dye.  But 
the  yarn  must  first  be  taken  out.  This  brown  color 
will  be  a  little  more  grayish  if  lichens  only  are  used. 
All  these  dyes  are  absolutely  fast. 

79.  Sandal  Brown  (Gray  Brown) 

Yarn 250  gr. 

Santalic  acid 50  gr. 

Madder 50  gr. 

Mulberry 50  gr. 

Oak  gall 15  gr. 

Iron  sulphate 10  to  15  gr. 

Madder,  santalic  acid,  mulberry  and  oak  gall 
are  pounded  fine,  put  in  a  bag  and  boiled  f  hr.  The 
yarn  is  put  dry  into  the  liquid  and  boiled  with  the 
bag  \  hr.  and  then  both  are  taken  out.  Add  the 
iron  sulphate  and  cool,  and  then  boil  the  yarn  5  to 
10  minutes. 

If  wanted  darker,  use  more  iron  sulphate. 


203 

80.     Dark  Red-Brown  with  Madder 

Yarn 250  gr. 

Alum 45gr.l    Mordant 

Cream  of  tartar 16  gr.J 

Madder 125  gr. 

Oak  gall 12  gr. 

Iron  sulphate 10  gr. 

Mordant  the  yarn  as  usual  1  hr.  Put  the  soaked 
madder  in  clear  water.  When  the  liquid  is  milk 
warm,  add  the  wet  mordanted  yarn,  heat  and  boil, 
keeping  in  even  motion  \  hour  and  then  take  out. 
Add  the  crushed  oak  galls  and  stir.  Boil  the  yarn 
in  this  \  hr.  Take  out,  add  iron  sulphate,  cool  a  little 
and  put  yarn  back.  Boil,  stirring  evenly  for  \  hr. 

Gray  Dyes 

All  plants  that  contain  tannic  acid,  will  make 
gray  dyes. 

Many  kinds  of  bark  contain  much  tannic  acid 
from  which,  by  adding  iron  salts,  gray  to  black  dyes 
may  be  obtained. 

Boil  the  plants  and  the  material  first  in  this 
dye,  which  will  give  it  a  yellow,  rod  or  greenish  color. 
Remove  the  goods  and  add  the  iron  sulphate,  which 
will  change  the  color  to  gray.  This  gray  will  always 
have  a  tone  of  the  foundation  color  which  the  plant 
alone  gives;  but  the  more  iron  sulphate  that  is  added, 
the  darker  and  more  gray  the  color  will  become. 

It  is  necessary  always  to  maintain  accurate 
proportions  between  the  strength  of  the  dye  and  the 


204 

amount  of  iron  sulphate.  In  a  weak  dye,  a  dark  gray 
dye  cannot  be  obtained,  however  much  iron  sulphate 
is  added. 

81.  Gray  Brown  with  Alder  Bark 

Yarn 250  gr. 

Alum  (mordant) 32  gr. 

Alder  bark 4  kg. 

Iron  sulphate 10  to  30  gr. 

Mordant  the  yarn  and  dye  yellow  with  alder 
bark,  as  in  No.  17.  When  it  has  boiled  one  hour  in 
the  alder  bark,  add  the  iron  sulphate  (see  No. 
54)  and  boil  the  yarn  again  \  to  £  hour. 

82.  Gray  Violet  with  Birch  Bark 

Yarn 250  gr. 

Dry  birchbark 600  gr. 

Iron  sulphate 10  to  20  gr. 

The  bark  is  put  to  soak  the  day  previous  and  is 
boiled  1  hr.  Strain  and  boil  the  unmordanted  yarn 
in  the  liquid  1  hr.  Add  the  iron  sulphate  and  boil 
the  yarn  |  hr. 

83.  Gray  Reddish  with  Mountain  Ash  Bark 

Yarn 250  gr. 

Alum  (mordant) 40  gr. 

Dry  bark 2  kg. 

Iron  sulphate 30  to  50  gr. 

Boil  the  bark  1  to  2  hrs. — strain.  Boil  yarn  in 
this  dye  1  hr.  Add  iron  sulphate  and  treat  as 
described  in  No.  54. 


84.  Blue  Gray  with  Kinnikinnic 

Yarn 250  gr. 

Kinnikinnic 1  to     2  kg. 

Iron  sulphate 5  to  20  gr. 

The  yarn  is  mordanted  and  dyed  as  for  yellow 
(see  No.  16).  When  boiled,  add  iron  sulphate  and 
boil  yarn  J  to  \  hr. 

85.  Green  Gray  with  Lady's  Mantle 

Yarn 250  gr. 

Alum 260gr.| 

Cream  of  tartar 16  gr.  [•   Mordant 

Fresh  lady's  mantle  . .  .\  to  1  kg.J 

Iron  sulphate 5  to  30  gr. 

The  yarn  is  mordanted  as  usual. 

Boil  the  lady's  mantle  1  hr.  and  strain.  Boil 
the  mordanted  yarn  in  this  liquid  1  hr.  Remove 
this.  Add  the  iron  sulphate.  Boil  the  yarn  in  the 
liquid  until  the  color  is  dark  enough. 

86.  Green  Gray  with  Sorrel 

Yarn 250  gr. 

When  in  the  sorrel  dye,  yarn  has  been  dyed 
black  (see  No.  89) ;  from  the  after-dye  one  can  get 
a  gray  green  after  color.  The  wet  unmordanted 
yarn  is  boiled  \  to  1  hour  or  longer  in  this  liquid.  The 
liquid  may  easily  stand  1  to  2  days  in  an  iron  kettle. 

87.  Gray  with  Sumac 

Yarn 250  gr. 

Mulberry  wood 10  gr. 

Sumac 25  gr. 


Oak  gall 10  gr. 

Iron  sulphate 10  gr. 

The  mulberry  wood,  which  has  been  soaked,  is 
boiled  |  hr.,  and  then  the  sumac  and  oak  gall  are 
added  and  boiled.  The  yarn  is  placed  dry  in  the 
boiling  dye,  and  boiled  f  to  1  hr.  Iron  sulphate  as 
usual  is  added  (see  No.  54)  and  the  yarn  is  again 
well  boiled. 

88.    Light  Gray. 

Yarn 250  gr. 

Oak  gall 3  gr. 

Mulberry  wood 1£  gr. 

Madder ^  gr. 

Iron  sulphate 3  gr. 

The  oak  gall,  mulberry  wood,  and  madder  is 
boiled  ^  hr.  The  dry,  unmordanted  yarn  is  put  in 
the  boiling  dye  and  boiled  \  hr.  The  yarn  is  taken 
out  and  the  iron  sulphate  added.  The  yarn  is  again 
put  back  and  boiled  \  hr. 

By  taking  more  or  less  of  the  different  dye- 
stuffs,  the  color  will  have  a  yellowish,  reddish  or 
violet  tone.  More  iron  sulphate  darkens  it. 

Black   Dyes 

Black  dyes  can,  like  the  gray,  be  made  with 
the  aid  of  iron  salts  from  the  plants  containing  tan- 
nic  acid.  But  they  can  also  be  obtained  from  the 
blue  dye-stuff  in  logwood.  This  latter  is  now  most 
generally  used.  Although  the  dye-stuff  in  logwood  is 


205 

blue,  black  may  be  obtained  from  it  by  using  different 
sorts  of  mordants.  In  order  that  the  black  shall  not 
be  too  bluish,  a  little  yellow  dye  should  be  added  to 
the  logwood. 

For  black  dyes,  an  iron  kettle  is  best.  Untinned 
copper  may  be  used,  but  not  tinned  copper  kettles. 

Logwood  is  always  put  in  a  bag  to  be  boiled 
and,  to  save  time,  the  goods  may  be  boiled  at  the 
same  time  as  the  bag.  But  it  must  have  plenty  of 
room  in  the  kettle. 

Goods  dyed  black  must  be  dried  immediately 
after  dyeing  and  then  washed  well  in  strong  soap 
water  and  rinsed  in  clean  water  until  it  is  absolutely 
clear.  When  the  black  dyes  are  well  boiled  and 
properly  handled,  they  do  not  crock,  but  are  abso- 
lutely fast. 
89.  Black  with  Sorrel 

Yarn 250  gr. 

Fresh  sorrel 1  to  H  kg. 

Logwood 175  gr. 

Birch  ashes 250  gr. 

Boil  the  sorrel  1  to  2  hrs.  in  a  clean  scrubbed 
iron  kettle.  Strain,  scour  the  kettle  before  putting 
the  dye  back.  In  this  the  wet  unmordanted  yarn  is 
boiled  2  hrs.  and  lies  in  the  liquid  until  cold.  The 
yarn  should  be  a  dark  gray  green.  Put  to  soak  the 
logwood,  the  day  before  dyeing,  and  boil  in  clear 
water  2  hrs.  and  take  the  bag  out. 


206 

The  mordanted  yarn  which  has  been  squeezed 
out  of  the  sorrel  dye  and  rinsed  in  lukewarm  water 
is  put  in  the  logwood  liquid  and  boiled  2  hrs.  When 
the  logwood  dye  is  nearly  cold,  it  is  mixed  with  1  to 
2  liter  of  lye  which  is  made  by  pouring  boiling  water 
on  the  birch  ashes,  stirred  and  let  stand  till  cold 
and  clear.  Let  the  yarn  lie  in  this  lye  for  12  hrs. 
and  then  dry.  Wash  later. 

Further  Use  of  Used  Dye  Liquids 

When  yellow  or  red  dyes  have  been  made,  the 
after  liquid  will  always  contain  enough  dye  so  that 
they  may  be  used  again  to  dye  woolens  and  cotton 
goods — goods  that  do  not  require  a  decided  color. 
These  after-dyes  are  more  or  less  fast,  but  are  very 
pretty.  The  most  are  fast  as  regards  washing  and 
can  be  used  for  articles  that  are  not  much  exposed 
to  sunshine. 

The  goods  is  mordanted  and  is  handled  the 
same  as  previously  described.  If  one  is  dyeing  rags 
and  such  common  things,  the  mordant,  if  it  be  alum 
or  cream  of  tartar,  may  be  put  in  the  after-dye  direct. 

Yellow    After-Dyes 

Different  yellow  after-dyes  may  be  mixed  to- 
gether and  the  alum  added  at  once.  With  after-dye 
of  heather,  cotton  and  linen  may  both  be  dyed  yel- 
low. This  is  a  pretty  color  for  the  warp  in  simple 
rugs  and  carpets. 


In  the  after-dye  of  ground  pine,  wool  and  cot- 
ton may  be  dyed.  If  they  be  re-boiled  in  used  log- 
wood dye,  a  good  blue  gray  color  is  obtained  both  in 
wool  and  cotton.  It  may  be  used  for  warp  and  car- 
pet rags. 

Red  After-Dyes 

Madder  dye  may  be  used  to  the  last  drop. 
Wool,  rags  and  cotton  yarn  may  be  dyed  in  it.  It 
must  boil  and  the  goods  will  become  a  light  brownish 
red.  Cotton  and  linen  dye  very  light  and  fade  in 
the  sun,  but  the  color  is  very  pretty  and  may  be 
used  for  warp  where  white  is  not  wanted.  The  after- 
dye  may  also  be  used  as  the  foundation  color  for 
darker  red  and  brown  shades.  A  little  dye-stuff  may 
be  saved  for  this. 

Cochineal  dye  may  be  used  until  there  is  only 
the  clear  water  left.  The  light  red  almost  color- 
less dye  makes  pretty  light  tints  for  old  pure  wool, 
white  dresses  and  blouses,  and  a  large  amount  of 
woolen  sweater  3^arn  may  be  dyed  light  red  in  such 
liquid. 

If  salmon  color  is  desired,  a  tin  solution  is 
added,  and  the  clean  dry  goods  is  allowed  to  boil  in 
the  liquid  \  to  \  hr.  The  amount  of  tin  solution  is 
regulated  by  the  weight  of  the  goods.  For  250  gr. 
goods  use  50  to  100  gr.  prepared  clear  yellow  tin 
solution. 


If  a  more  bluish  red  is  wanted,  mordant  the 
goods  first  in  alum  and  then  boil  without  the  tin. 
Madder  and  cochineal  dyes  may  be  mixed. 

Blue  After-Dyes 

Indigo  gives  no  after-dyes,  as  the  goods  always 
draws  all  the  color  into  itself.  In  logwood  dye,  how- 
ever, light  gray  blue  after-dye  is  found. 

Violet    After-Dyes 

The  same  is  true  of  these  dyes,  as  for  the  red 
after-dyes,  where  madder  or  cochineal  has  been  used. 

Green  After-Dyes 

Green  after-dyes  arc  not  worth  while  using. 
They  only  give  a  dirty,  undecided  color. 

Brown  gray  and  black  after-dyes  will  give 
lighter  shades.  The  gray  after-dyes  may  be  quite 
dainty  and  pretty. 

From  black  logwood  after-dyes,  gray  blue  is 
obtained. 

Dyeing  of  Old  Goods 

If  one  wishes  to  dye  old,  faded  goods,  this  must 
first  be  well  washed  and  then  boiled  j  hr.  in  soda 
water  (which  must  not  be  strong  enough  to  injure 
the  goods)  so  that  as  much  of  the  original  dye  is  re- 
moved as  possible.  Then  rinse  it  well.  After  that 
handle  as  the  white. 

When  old  goods  is  to  be  dyed,  a  darker  color 
than  the  original  must  be  chosen.  For  success 

14 


207 

a  great  deal  depends  on  the  foundation  color,  as  the 
new  must  be  dark  enough  to  cover  the  old. 

Only  pale  yellow  or  pink  may  be  dyed  yellow. 

Pale  yellow,  pale  violet,  light  gray,  light  brown, 
very  pale  green  and  red  may  be  dyed  red. 

Pale  yellow,  pale  green,  violet,  blue  gray  and 
light  brown  may  be  dyed  blue.  With  ground  pine 
and  chickweed  dyes,  pretty  blues  may  be  obtained. 

Blue  and  red  may  be  dyed  violet. 

All  other  light  colors  may  be  dyed  brown. 

All  colors,  light  or  dark  may  be  dyed  black. 

It  must  be  understood  that  with  re-dyeing,  the 
new  color,  unless  it  is  very  light,  will  always  have  a 
tone  of  the  old  ground  color. 

Unless  one  knows  what  dyes  were  used  original- 
ly, it  is  best  to  dye  a  sample  especially  if  the  goods 
be  of  value,  as  the  result  may  prove  to  be  a  different 
color  than  the  one  planned  for.  The  old  color  is 
dissolved,  so  to  say,  by  the  new,  and  forms  an 
entirely  new  compound. 

Bleaching  of  Woolen  Goods 

No  matter  how  well  woolen  goods  is  washed 
and  the  fats  removed,  it  will  never  be  perfectly 
white.  If  one  wishes  chalk  white  yarn  or  woolen 
cloth,  it  must  be  bleached.  A  peculiar  odor  will  be 
noticed  from  these  goods  if  boiling  water  be  poured 
over  them. 


208 

In  the  bleaching  of  woolen  goods  sulphur  is 
used.  This  bleaching  may  easily  be  done  at  home 
by  using  sulphur  in  a  tightly  closed  room  where 
damp  woolen  goods  has  been  hung. 

For  bleaching,  a  large  tight  box  or  barrel  with 
cover  may  be  used.  On  one  side,  and  quite  near  the 
floor,  cut  out  a  piece  large  enough  to  admit  a  fairly 
good  sized  iron  kettle.  The  hole  must  be  provided 
with  a  cover.  At  the  top  of  the  barrel  or  box,  on 
the  inside,  strips  of  wood  must  be  nailed  on  which 
the  stick,  holding  the  yarn,  may  be  rested.  Some- 
times the  wool  is  hung  from  a  large  spool  or  placed 
loosely  in  a  net. 

After  the  yarn  has  been  throughly  washed  and 
rinsed  it  is  allowed  to  dry  enough  so  that  the  water 
does  not  drop  from  it.  It  must  be  evenly  wet, 
without  dry  spots.  It  is  hung  in  the  barrel  or  box, 
and  the  top  is  well  covered. 

Glowing  charcoal  is  placed  in  the  iron  kettle 
or  dish.  A  handful  of  coarsely  powdered  sulphur 
is  placed  on  the  glowing  coals  and  the  opening  is 
quickly  closed. 

There  must  be  a  large  enough  opening  near  the 
bottom  to  allow  draft  enough  to  burn  the  sulphur. 


The  yarn  or  other  goods  is  left  in  the  box  or  barrel 
about  12  hrs.  If  it  is  white  enough,  it  is  rinsed  in 
cold  water  and  dried.  If  not,  bleach  again.  Care 
should  be  taken  not  to  hang  the  goods  too  near  the 
kettle. 

It  is  not  necessary  to  bleach  woolen  goods  to  be 
dyed  with  plants.  As  a  rule  it  is  not  done,  but  if 
one  does  not  object  to  the  work,  certain  light, 
dainty  colors  become  cleaner  when  bleached,  but 
some  are  duller  and  not  as  pretty  as  when  using 
the  bleached  yarn. 

Hand  Measures 

25  gr.  soda — 1  handful. 
100  gr.  greensoap — 1  heaping  wood  spoon. 
25  gr.  madder—      1       "  tablespoon. 

20  gr.  mulberry—  1  " 
15  gr.  logwood—  1  " 
20  gr.  cochineal—  1  "  " 

8  gr.  pulverized  alum — 1  heaping  teaspoon. 
8  gr.  coarsely  powdered  cream  of  tartar  —  1 

heaping  tablespoon. 
12  gr.  coarsely  powdered  potassium  chromate 

—1  heaping  teaspoon. 
10  gr.  iron  sulphate — 1  heaping  teaspoon. 
10  gr.  coarsely  pounded   copper   sulphate  —  1 

heaping  teaspoon. 
1  gr.  olium — 5  drops. 


INDEX 


Abbreviations:     (w.  d.),  working  drawing;  (ill.),  illustration;  (pat.),  pattern;  (dr.),  draft- 


Adaptations  of  borders,  .">•_' 

Adaptations  of  patterns,  51 

After-dye  liquids,  206 

After-dyes,    yellow,   206;   red,   206;   blue,   207; 

violet,  207;  green,  207 
Alternate  method  of  treadling  for  rug  weaving, 

161 
Alternate  method  of  warping  with  four  threads, 

16 

Hi  -lining,  20 

If.  :nns.  for  double  weaving,  (ill.),  164 

Big  Diamond  pattern,  (dr.),  60;  (pat.),  61 

Black  Dyes,  205 

Bleaching  woolen  goods,  207 

Block  Work  pattern,  66 

Blooming  Flower  pattern,  78 

Blue  Dyes,  191,  193 

Bobbin  winder,  37 

Bonaparte's  March  pattern,  76 

Borders,  76 

Border  weaving  in  double  or  Damask   weave, 

1C,4;  (dr.),  165 
Borders,  adaptations  of,  52 
Hi -ad<  lock's  Defeat,  91 
Brown  Dyes,  200,  203;  after  Dyes,  207 

Canvas.  Danish  pattern,  105 

Chariot  Wheel  pattern,  68 

Checked  paper,  51 

Cloth  Beam,  34 

Cloth,  construction  of,  8 

Colonial,  patterns,  .")!»;  double  weaves,  162 

Color,  introducing  of,  43 

Construction  of  plain  cloth,  8 

Counterpane,  69,  84,  85 

Crosses,  securing  of,  in  warping  12 

Cross  pattern,  93 

< 'uriaiii.  70,  84 

Damask  weave,  151 
Damask  weave  Danish  pattern,  165 
Diinish  uixl  Norwegian  patterns,  101 
Danish  loom,  175;  (w.  d.),  176,  177 


Danish  rrethod  of  writing  draft  for  double 
Dan.  ask  weave,  165 

Danish  patterns,  101 

Diagonal  weave  for  eight-harness  Dare  ask 
weave,  157 

Diagonal  weave  in  three-harness  Swedish  pat- 
tern, 114 

Dog  Tracks  pattern,  96 

Doors  and  Windows  pattern,  87 

Double  Bow  Knot,  (dr.),  94;  (pat.),  95 

Double  Chariot  Wheel  pattern,  88 

Double  Snowball,  (dr.),  63;  (pat.),  64;  adapta- 
tions, 64 

Double  tie-up  for  double  Damask  weave,  164; 
Danish  way  of  writing  draft,  165 

Double  weaving,  162;  beams  for,  (ill.),  164 

Draft,  Danish,  101;  reading  59 

Dyeing  old  goods,  207 

Dyeing  utensils,  183 

Dyes,  yellow,  184;  red,  185;  blue,  191;  green, 
193;  violet,  198;  violet  with  cochineal, 
198;  brown,  200;  gray,  203;  black,  205 

Dyes  and  Dyeing,  183 

Eight-harness  and  eight-treadle  Damask  weave, 

154 

Kight-harness  Damask  weave,  153 
Eight-harness  Damask  weave.  Danish  draft,  165 
Kit;ht-harness  Damask  weave,  diagonal,  157 
Kight-harness  loom,  124 
Kight-harness  Swedish  pattern,  115 

Federal  Knot  pattern,  (dr.),  79;  (pat.),  80 

Fine  threads,  use  of,  56 

Five-anil-six-harness  Danish  pattern,  105 

l-'ivc-liariiess  Swedish  pattern,  113 

Foot  Stool,  textile  and  wood,  166;  (w.  d.),  167; 

(ill.),  168 

Formulae  for  dyeing,  184 
Four-harness    cotton    table    mat,     (dr.),     158; 

(pat.),  159 

Four-harness  Danish  pattern,  101 
Four-treadle  loom,  118 
Four  Wheels,  95 

209 


Fox  Trail  pattern,  87 

Goose  Eye  Danish  pattern,  104 

Governor's  Garden  pattern,  72;  (dr.),  74 

Gray  Dyes,  203,  205;  after  dyes,  207 

Green  Dyes,  193,  198 

Guess  Me  pattern,  97 

Hand  measures,  208 

Harness,  32 

Heddle  frames,  116 

Heddle  horses,  32:  (w.  d.),  33 

Heddle  sticks,  26 

Heddle  sticks,  tying  of,  33;  (w.  d.),  34,  48 

Heddles,  threading  of,  27 

Heddles,  knotting  of,  25 

Heddles,  wire,  116 

Holding  the  warp,  23 

Honey  Comb  Swedish  weave,  110 

Indiana  Frame  Rose  pattern,  90 

Introducing  color,  43 

Irish  Chain  pattern,  82 

Irregular  threading  in  Swedish  patterns,   110 

Keeping  account  of  threads  warped,  Hi 
King's  Flower  pattern,  92 
Knotting  the  heddles,  25 

Lambs,  f>7 
Laying  in  sticks,  24 
Lease,  10 
Lease  rods,  25 
Leopard  Skin  pattern,  86 
Linen  draft,  157 
Longitudinal  threads,  8 
Long  warp,  preparing  of,  10 
Loom,  parts  of,  9:  (ill.),  21 
Loom,  power,  7 
Loom,  simple  hand,  9 
Loom,  threading  of,  26 
Loom,  tying  of,  31 
Loom,  eight-harness,  124 
Loom,  four-treadle,  118 
Loom,  six-harness,  121 
Loom,  gix-treadle.  105 


V 


/tt^UMt 

I 


-1   -4. 


210 

Looms,  175 

Looms,  Danish,  175;  (w.  d.),  176,  177,  178 

Looms,  Swedish,  179;  (w.  d.),  180,  181,  182 

Mordant,  184 

Nine  Snowballs,  82 
Nine  Wheels,  82 
Norwegian  patterns,  106 

Old  Irish  Quilt  pattern,  93 
Old  Quilt  pattern,  85;  (dr.),  86 
Olium,  190 
Orange  Peel  pattern,  71;  (dr.),  72 

Paddle,  construction  of  warping,  17;  (w.  d.),  18 
Paddle,  use  of,  18 
Parson's  Beauty  pattern,  91 
Patterns,  adaptations  of,  51 
Patterns,  Colonial,  59 

Big  Diamond,  (dr.),  60;  (pat.),  61 
Block  Work,  66 
Blooming  Flower,  78 
Bonaparte's  March,  76 
Braddock's  Defeat,  91 
Chariot  Wheel,  68 
Cross,  93 

_  Tracks,  96 
Doors  and  Windows,  87 
N  Double  Bow  Knot,  (dr.),  94;  (pat.),  95 
N  Double  Chariot  Wheel,  88 
Double  Snowball,  (dr.),  63;    (pat.),  64, 

adaptation  64 
Federal  Knot,  80;  (dr.),  79 
Four  Wheels,  95 
Fox  Trail,  87 
^•v*vO^-«Xi/»      Guess  Me,  97 

*  Governor's  Garden,  72;  (dr.),  74 
Indiana  Frame  Rose,  90 
Irish  Chain,  82 
King's  Flower,  92 
Leopard  Skin,  86 
-  Old  Irish  Quilt,  93 
Old  Quilt,  85;  (dr.),  86 
Orange  Peel,  71;  (dr.),  72 
Parson's  Beauty,  91 
xPine  Knot,  79 
Platform,  97 
Queen's  Delight,  92 


. 


»/vkou 


INDEX  —  Continued 

Rings  and  Chains,  83  . 

Rose  Path,  53         $  <~ 

Scarlet  Balls,  88 

Sea  Star,  89 
\Snail's  Trail  and  Cat's  Paw,  77 

Virginian  Snowball,  96 
N  Wheel  of  Fortune,  81 
V Whig  Rose,  99;  (dr.),  100 

White  House,  89 

Wind  Flower,  (dr.),  98;  (pat.),  99 

Window  Sash,  90 
Patterns,  Damask,  151 
"t)anish,  draft,  165 

Danish  draft,  eight-harness,  165 

diagonal,  eight-harness,  157 

eight-harness,  153 

eight-harness  and  eight-treadle,  154 

Sea  Shell,  163;  (dr.),  162 

ten-harness,  151 

rug,  alternate  stripes,  161 

rug,  six-harness,  161 

table  mat,  159;  (dr.),  158 

table  mat,  four-harness,  159;  (dr.),  158 
Patterns,  Danish,  101 

"Norwegian,  101 

canvas,  105 

five-and-six-harness,  105 

four-harness,  101 

Goose  Eye,  105 

two-harness,  101 
Patterns.,  Norwegian,  106 
eras,  Swedish,  107 

diagonal  weave,  three-harness,  114 

eight-harness,  115 

five-harness,  113 

Foot  Stool,  166;  (w.  d.),  167;  (ill.),  168 

four-harness  threading,  108 

four-harness,  113 

Goose  Eye,  1 12 

Honey  Comb,  110 

Rose  Path,  111 

six-harness,  113,  120 

six-treadle,  threading,  108 

three-harness,  113 

tie-up  with  sets  of  lambs,  116 

tie-up  for  seven  harnesses,'  1 14 

two-harness,  107 

two-treadle  or  four-treadle  draft,  107 

Textile  and  Wood,  166 


Pattern  weaving,  44 

Pattern  weaving,  threading  of,  46 

Pegs,  11 

Pillow  Tops,  67,  68,  73,  75 

Pine  Knot  pattern,  79 

Placing  beams  for  cotton  and  wool  weaving,  163; 

(w.  d.),  164 
Placing  the  reed,  30 
Plaids,  weaving  of,  44 
Platform  pattern,  97 
Power  loom,  7 
Preparing  a  long  warp,  10 

Queen's  Delight,  92 

Raddle  20;  (w.  d.),  22 

Rag  Rugs,  43 

Reading  a  draft,  59  :  Danish,  101 

Red  Dyes,  185,  190;  after  dyes,  206 

Reed  hooks,  30 

Reed,  the,  27 

Reed,  threading  of,  29,  47 

Reel,  16 

Reel,  warping,  13;  (w.  d.),  14 

Reels,  42;  (ill.),  40;  (w.  d.),  41 

Removing  warp  from  reel,  17 

Rings  and  Chains  pattern,  83 

Rose  Path  pattern,  53 

Rose  Path  Swedish  pattern,  111 

Rug,  wool,  159,  161 

six-harness  pattern.  160 
Rugs,  weaving  of,  43 

Scarlet  Balls  pattern,  88 

Screen,   textile  and   wood,    168;   (w.   d.),    171; 

(ill.),  172,  170;  (w.  d.),  173;  (ill.),  174 
Sea  Shell,  (dr.),  162;  (pat.),  163 
Sea  Star  pattern,  89 
Selvage,  47 

Sewing  Basket,  textile  and  wood,  170 
Shed,  35 

Shuttle,  36;  (w.  d),  37 
Shuttle  stick,  36 
Simple  loom,  9 
Six-harness  loom,  121 
Six-harness  Sea  Shell  pattern,  (dr.),  162;  (pat.), 

163 

Six-harness  Swedish  pattern,  113,  120 
Six-harness  wool  rug  pattern,  160 


A^» 


Six-treadle  loom,  105 

Snail's  Trail  and  Cat's  Paw  Pattern,  77 

Spool  rack,  15 

Starting  threads  on  the  reel,  15 

Swedish  draft  of  Goose  Eye  pattern,  112 

Swedish  loom,  178;  (w.  d.),  179,  180,  181,  182 

Swedish  weaving,  107 

Stool,  foot,  166;  (w.  d.),  167;  (ill.),  168 

Table  mat,  cotton,  (dr.),  158;  (pat.),  159 

Table  Runner,  65,  67 

Taking  off  the  warp,  12 

Temple,  38;  (w.  d.),  39 

Ten-harness  Damask  weave,  151 

Textiles  and  Wood,  166 

Threading  a  four-harness  Swedish  pattern,  108 

Threading  a  six-treadle  Swedish  pattern,  108 

Threading  a  two-harness  Swedish  pattern,  107 

Threading  damask  weave,  152 

Threading  for  eight-harness  double  weave,  163 

Threading  for  pattern  weaving,  46 

Threading  for  Kose  Path  pattern,  54 

Threading  for  ten-harness  Damask  weave,  156 

Threading  the  heddles,  27 

Threading  the  loom,  26 

Threading  the  reed,  29,  47 


INDEX— Concluded 

Three-harness  Swedish  pattern,  113 
Three-harness  Swedish  pattern,  diagonal  weave, 

114 
Tie-up  damask  weave,  152;  eight-harness,  154; 

double  weave,  164 

Tie-up  for  seven-harness  Swedish  weave,  114 
Tie-up  pulley,  152 

Tie-up  with  sets  of  lambs,  116;  double,  164 
Turning  on,  20 

Two-harness  Danish  pattern,  101 
Two-harness  Swedish  pattern,  107 
Two-treadle  or  four-treadle  Swedish  draft,  107 
Tying  heddle  sticks  for  pattern  weaving,  48 
Tying  heddle  sticks  to  treadles,  33;  (w.  d.),  34 
Tying  the  loom,  31 

Utensils,  for  dyeing,  183 
Upholstering,  suggestions  for,  166-168 

Violet  Dyes,  198,  200;  after  dyes,  207 
Virginian  Snowball,  96 

Warp,  8 

Warp,  distribution  of,  24;  (ill.),  25 

Warp,  holding  of,  23 

Warp,  removing  from  reel,  17;  from  board,  12 


211 

Warp  spreader,  20;  (w.  d.),  22 

Warp  stand,  24 

Warp,  taking  off,  12 

Warping,  alternate,  16 

Warping  a  number  of  threads  at  once,  16,  17 

Warping  board,  construction  of,  10 

Warping  board,  use  of,  11 

Warping  reel,  13;  (w.  d.),  14 

Warping  Threads,  keeping  count  of,  16 

Waste  Basket,  textile  and  wood,  168;  (ill.),  168; 

(w.  d.),  169 
Weaving  a  border,  50 
Weaving  a  pattern,  49 
Weaving,  double,  162 
Weaving  of  plaids,  44 
Weaving  of  rag  rugs,  43 
Wheel  of  Fortune  pattern,  81 
Whig  Rose  pattern,  99;  (dr.),  100 
White  House  pattern,  89 
Wind  Flower  pattern,  99;  (dr.),  98 
Window  Sash  pattern,  90 
Woof,  9 

Wool,  washing  of,  183 
Wood  and  Textiles,  166 

Yellow  Dyes,  184,  185;  after  dyes,  206 


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14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 
HJVIRONMEH3-A1  DESIGN  LIBRARY 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 
Renewed  books  are  subject  to  immediate  recall. 


FE6  141367 

JAN  28  1973 

„       /! 

;yr,  ^  ^  1973 

CCT1S  1bb7 

:    A     \W\ 

LqMW 

,  *    1 

DEC  1  1  1973 

1989 

NOV  9     1969 

*ft  7    1970 

JOY^   1970 

OCT  27  1971 

MAR  15  WZ 

LD  21-40m-10,'65 
(P7763810J476 


General  Labrary 

University  of  California 

Berkeley 


i. 


